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Okay Tom, I am finally starting to feel a little more comfortable with the
physical aspect of my playing, but I have a hard time being creative. I can't
seem to write songs or improvise at the same level as I can play my guitar.
Everything I do sounds stiff, or typical and not very creative or expressive.
Am I just not a creative person? Is there anything that I can do about this?
That question is a very typical one that I (and probably most people who
have ever taught guitar) am very often asked. Before I go into detail to
answer it I need to say that in order to completely overcome such a
problem will require one to work at it for a long time. And I strongly suggest
working with an excellent teacher to help you through this. He/she will save
you a lot of time, effort, aggravation, etc. (Refer to my previous article
on Choosing a Teacher)
Theory problems:
- Not knowing your fretboard well enough so that you don't need to think
about where the notes are as you are playing, improvising and writing
music.
- Not having memorized all the notes in the key(s) you're working with.
- Not knowing what notes are in what chords.
- Not knowing what notes are consonant and what notes are dissonant in
any given situation. (and more importantly, how to control dissonance in
theory!)
If you have any of the above problems, work on fixing them because those
things, although not really elements of creativity itself, are the basic skills
that one must posses to be creative/expressive on an instrument.
If you don't really understand what notes you can use in a given situation to
produce desirable results, and at the same time your mind has no idea what
the notes are going to sound like before you play them, and at the same
time, you are struggling with the limitations of what you can physically play,
and at the same time, you don't know how to control dissonance, etc. etc.
etc. how much conscious brain power do you actually have left to think
about improvising an expressive guitar solo, melody or to write a song with
new ideas? I would bet that the majority of those of you reading this have
this problem to some extent. I suggest to make it a priority to get these
basic skills under your belt as soon as you can.
Once you have (or if you have) a good amount of control over the basic
musicianship skills, you are ready to go deeper into the creative aspects of
playing / writing.
I usually find that my most creative musical ideas don't come from thinking
about music at all. I look at other forms of art (and nature) to find new
ways to see creativity. Once I have an interesting idea or concept in mind, I
look to find all the possible ways that I may be able to adapt that into
musical form to suit my musical needs. Here is an example of what I am
talking about:
A few years ago I began thinking about the similarities and differences in
the different processes that are used in separate art forms (painting, music,
poetry, stone or marble sculpture, etc.) Of the four I just mentioned, only
stone cut and marble cut sculpture starts with SOMETHING (the raw
materials of stone or marble) and then the artist DESTRUCTIVELY
eliminates materials to create the art.
Poetry, music and painting generally are created from NOTHING (no
materials from which to take away from) thus the artist creates the music
CONSTRUCTIVELY (adding materials - letters, words, musical pitches,
rhythms, brush strokes of wet paint, etc.).
I once made this simple analysis of the stone sculpture process, I knew that
its importance would be significant and valuable to me eventually. After
almost a year of thinking about a way in which I could apply the principle of
destructive creation (versus constructive creation), I finally had some brand
new ideas (at least they were brand new ideas to me) for a new creative
way (process) to write music.
Another example of taking creative processes from other forms came when
I was watching a Disney movie on DVD. There was a special features
section after the movie on the DVD in which the film makers showed
diagrams and charts called story boards. The purpose of these story boards
was to communicate more clearly the ideas from the writers and producers
of the movie to the artists who were creating the animation for the film.
The plans were much more organized now, I could clearly see what I
wanted to be expressed at what moment during the music. This helped to
keep me on track musically. I was very pleased with the final result. There
many other processes that I used in composing Opus 2 (and Opus 1), but
this general principal is one that I think any composer or songwriter can use
no matter how advanced or basic one's music writing skills are.