For a hi-res PDF of the scored examples from this article, click here.

Writer's block is an affliction we all have to endure at one time or another, and everyone who has experienced this dilemma has a different approach to pulling themselves out of it. When writing music, the challenge of moving forward in a piece or a song can be daunting enough, but getting started can be the most difficult task of all. This article examines strategies for beginning a musical composition or song and explores tactics for overcoming writer's block with rhythmic diagrams, spontaneous stream of consciousness melody writing and predetermined thematic form structures.

Although for the most part I’m self-motivated as a composer, sometimes the thing that is most likely to get me off my butt to write music is the threat of a paycheck. This is especially true if there are a significant amount of other daily tasks that break the day up into small enough blocks to make mulling over a musical theme or idea feel impractical or rushed.

Deadlines do help as a motivator, and if faced with one of these and an un-stimulated brain, there are a few things that have worked for me to get the ball rolling.

Stream of Consciousness Melody Writing

One approach is to just begin writing a melody -- either on manuscript paper or in a sequencer, guitar or keyboard -- generally without any regard as to whether it’s “good” or not. You can fix it later if it ends up sounding dodgy, and at least at that point you have something to work with. It’s a good idea to have lots of composing tools readily available: a bunch of sharpened number 2 pencils, manuscript paper, or a fresh ProTools session and instruments lying around you. Having stuff in front of you can be inspiring. Sometimes.

And then there are the times you really have to work hard to ignore the “I suck” or “this sounds dorky” inner commentary that is likely to infiltrate your mind at this stage. I’m convinced that this is an avoidance tactic masquerading as a self-esteem issue. When the body would rather be doing something more immediately pleasurable it will send signals to the brain to stop, through guilt or shame if necessary, and there are other emotions at work here as well. Ignore these voices at all costs and continue writing without editing. Sort out the damage later. Some of the best, most fluid writing comes from this approach, and the voices from within that are telling you otherwise are actually an embarrassed reaction to a technique that so transparently reveals the composers’ personality. This is one of my favorite ways to write, as painful as it can sometimes be.

Rhythmic Diagrams

If writing spontaneous melodies proves difficult (it comes more naturally to fluent improvisers), and the “once again, I have failed” inner voice begins to gain on you, there is another tactic- beginning with a rhythmic diagram. It’s a more emotionally detached approach that allows you a bit more breathing room when composing something new. If you do it right, it almost always works.

Here’s an exercise for you: begin by writing out a four-measure phrase, rhythms only. (It doesn’t have to be four measures, but don’t make it too long; keep it simple).

Example:

Listen to an MP3 of this example

It might be a good idea to write the count underneath the rhythms and clap the section out a few times to warm up to the pattern:

Next step, attach notes to the rhythms:

Listen to an MP3 of this example

You don’t like ‘em? Change ‘em! Like so:

Listen to an MP3 of this example

Now expand the rhythmic diagram four more measures–perhaps an exact repetition or a similar rhythmic pattern with a slight variation:

Listen to an MP3 of this example

You can repeat the note sequence with slight variation as well, or sequence the melodic theme up or down within the key or mode that you’re using:

Listen to an MP3 of this example

Notice I changed the rhythm slightly after adding pitches to make the melody a bit more lyrical. There is now an eight-measure phrase and it sounds pretty good. What you (I) need to do now is diagram out eight more measures of rhythms for a contrasting phrase, then add a melody, possibly using similar thematic material, but maybe changing the tonal center or key (just a suggestion; do what you want):

Listen to an MP3 of this example

I ended up using the same mode (E Dorian) and sequencing the melody up higher in the scale.

Expanding Rhythmic Diagrams Into Larger Form Structures

Now there is an A and a B theme. There are lots of popular song forms that are simply ABA structures, with slight variations. At this point you could probably concoct a C theme or bridge without even starting with a rhythmic diagram, since you’ve already gone over A and B so many times.

And how about repeating the themes with slight variations? Most pop songs sound like they repeat a lot on the surface, but actually have a lot of variation built into the structure of the arrangement in a way that for most listeners is subliminal. You could approach that technique by outlining a form structure as such:

A1, B1, A2, B2, A3, A1, coda (the coda would be some kind of tag at the end using a variant of a previous theme, possibly shortened, possibly lengthened; who knows?)

Here is the main value of these types of form structures:

The repetition of thematic material will, ideally, keep the listener from becoming alienated by too much new material, and variations on the themes should, hopefully, keep the listener from becoming bored by too much exact repetition.

Since I mainly used an E Dorian scale for the A and B theme, it may be a good idea to change the harmonic climate for the bridge, or C section, whether that means modulating to a different key (not a bad idea) or altering the scale notes to invite a different, perhaps brighter harmonization, since Dorian can be a bit dark. But for this last example. I’m going to blow off the bridge and just give you an A1, B, A2 coda form structure:

Listen to an MP3 of this example

I didn’t say the harmonization had to be simple, by the way, but you could have just as appropriately harmonized these themes with block chords that last 1 measure each, if that’s your thing. Also note that I changed some of the note durations to blend better with the harmonization. A bridge or a C section would allow for even more repetition and variation of the A and B themes. This gives you not only a longer piece but a stronger opportunity to embed your melodies into the listeners’ memory.

When you can see the form ahead of you, starting with a rhythmic diagram and then a broader timeline map of thematic structures and their variations, it makes it easier to fill in the blanks and move forward without hitting roadblocks every other step of the way. Then you can go back and adjust and refine the rough spots and harmonize and orchestrate until you’re not only happy with, but charged up over what you’ve written.

Composer, guitarist and arranger Steve Kirk teaches guitar, music theory, composition and band workshops both privately and at Blue Bear School Of Music and Community Music Center- both located in San Francisco, California. He is also the guitarist for Club Foot Orchestra and Orchestra Nostalgico, and wrote the theme music for Zynga Games' FarmVille.