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  1. #61
    Join Date
    Nov 2008
    Location
    Greenacres, FL
    Posts
    11,577
    Quote Originally Posted by fep View Post
    +1

    I'm reading up on songwriting and working on songwriting (similar to composing). My take away is, do it for the sake of doing it. Quantity over quality and the quality will eventually come. Turn your internal critic off.

    .
    I've told this story before but it's worth repeating. Back in the early '80s I worked the graveyard shift and had access to several morning papers. One was the Wall Street Journal. One morning I read an article about how often even successful sales people are turned down. If you get one sell out of ten, you're doing very well. Ten out of a hundred. I thought, "Hey, if i write 100 songs, I'll have enough songs for an album." That thought liberated me. I wrote hundreds of songs in a few years. Most were crap, but so what? Each was fun for a few moments at least and some I still play to this day. I didn't have to think about which ones would last, I just had to keep writing. It was one of life's golden ages.
    "I know nothing about the subject, and despite that have no opinion." Eugene Volokh

  2. #62
    Join Date
    Jul 2008
    Location
    San Diego
    Posts
    5,019
    Quote Originally Posted by Boston Joe View Post
    I have scorecloud. I definitely do write things down, but I usually wait a night before I do that. If I can remember it the next day, I figure maybe it's not too bad. Here's a link to the first A section. ScoreCloud.

    (I wanted to post a screen shot, but my work blocks scorecloud.com.)
    Love a jazz waltz, sounds good. I which the jazz community was more into writing and performing their own music. I'd much rather hear you play your tune started here than a tired jazz standard.
    B+
    Frank (aka fep)

  3. #63
    1. Grab the great american song book, pick out some tunes you like, take the changes and write your own melodies over it.

    2. transcribe tunes you like, melodies/changes and find out what parts you like and why -> try and mimic the parts you like, in your own context.

    3. don't sit down and look at the paper and wait for the perfect melody, or the perfect changes. Write horribly on purpose, then adapt and improve. It's better to work with something you have on paper rather than wait and wait and end up with nothing after an hour or so of just trying to write something acceptable the first go.

    4. do loads of writing.

    5. share it with the musicians you trust, and feel like you won't be judged by.

    6. do loads of writing (again).

    Hope that helps you in some way!

  4. #64
    Join Date
    Oct 2008
    Location
    Central New Mexico in the bottom of the Rocky Mountain chain.
    Posts
    73
    Well, I just sort of fell into this idea, When you first pick up the guitar do you usually toss off a few notes to get the fingers going? Just 4 to 6 notes, some subliminal phrase lurking in the back of your mind or under those fingers. I have put together more than a few tunes that way. This began just after I learned to play enough to want to keep learning more. Had just a few scales under my fingers.

    Fair warning, they didn't sound much like jazz. But I figured that would come later as I got better at jazz chords. [still persuing those chords and haven't written many tunes lately]

    Here's one very fine place to start the wheels turning. The Cycle of 5ths has a wealth of ideas for digging yourself out of a compositional hole. Most places where it's found also explain it's usage.

    Rich Severson [99 cent guitar lessons.com ] has a very fine class on how to turn those first 4 notes into a very nice 8 to 12 bar line. [ not blues] I have been trying to find the class and am missing it. It's called sequencing. I just tried under that title and failed to find it. He begins the class with a short tidbit about a student who couldn't think of anything to play...... wish I could remember the class title. They cost 4.99 If you listen to jazz you will hear this idea used all the time.

    The class is about how your move your short melody up the neck diatonically. It makes your lines sound more like you know what you are doing.

    BIAB is a very useful tool for composing, if you have a real sounding band as your white board the ideas will flow. Jazzers borrow from each other and great composers all the time.

    Ron

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