How To Finish Your Guitar Composition Ideas

Do you have great ideas for the music you want to compose on the guitar, but get stuck somewhere along the way? This article (and video) is exactly for you!

I asked my guitar composition group (you’re welcome to join here if you haven’t yet) which topic they want me to do a live session on next. The poll’s winner was “finishing your guitar composition ideas”. 

One of the members’ suggestions, “Modal playing,” came in close second place. So, in my next video, I’ll cover how to use modes for guitar composition! Subscribe here not to miss it.

I’ll share below three secrets that help my guitar composition students and me, secrets I have never seen anyone talk about.

Knowing where the music originated will help you find a way to finish it. Let me explain. When my students ask my advice on finishing their guitar compositions, we discuss the meaning behind their initial idea. I’d ask them questions like:

• What were you thinking/feeling when you created it?
• What is this music about?
• What are you trying to say with it?

Then we go deeper and deeper into the emotional ingredients of their ideas. Once the meaning becomes clear, any question on how to finish their music becomes almost irrelevant. The story behind the notes dictates what should come next.

For example, I created a musical Haiku on the Guitar (listen to it below), where the ideas behind it were already set and intentional. These include the emotional and visual contexts and the structure, similar to having a template of the 12-bar blues for creating a guitar composition.

2. Make a decision

I’m sure you already have ideas for continuing and finishing your music. But perhaps these ideas don’t sound good to you, or you have too many to choose from. 

Imagine a tree seed. At every moment of its growth, there is a decision to make: extend upwards, to the left, to the right, etc. A tree doesn’t stop growing; it grows and flows.  

Apply this simple principle to your guitar music, and decide where the music should flow next until completion. For example, your choices are:

• Should I repeat it an octave higher?
• Should I make a variation?
• Should I move to something completely different?

The idea is not to get stuck and decide on only one way so that you can move on to your next section. If you have too many options, use your gut feeling. If some are equally good, test it out with one of them.

You can also add the other options later as a variation or redo it. The point is to finish a draft, which is an overall structure. 

For example, my track “To a New Home” from the album “Love Blue Electric” (listen below) begins with my initial idea. Then, I decided to repeat it with a variation, and it felt right to move it from A to D (something called sequential modulation to the subdominant). Finally, it made sense to return to the opening phrase and move on from there. This was a series of decision-making after every phrase, playing it and listening to where it wants to go.

3. Don’t start with the background 

A common way to compose guitar music and how others try to teach how to write is to start with the background material. The two standard options are a chord progression or a guitar riff. If your idea is also based on background material, this might be why you get stuck.

Here’s an example. Tom (see below) told me he gets stuck when moving on to the second guitar part. When I asked what he meant by “guitar part,” he replied that it was a chord progression or a riff. In short, background material.

Yes, giving yourself a framework to work with is helpful. Then, it’s “just” creating the lead guitar parts. But if you get stuck, consider these points:

• Because this is a common way, it will likely sound too familiar, and you will think it’s not good enough. 
• What’s more important: the plot of a story or where it happens? If you agree that the plot is more meaningful, does it make more sense to focus on it first?
• From a technical perspective, if you’re occupied with playing chords or a riff, you’d need to create the lead parts with your voice and then find the notes on the guitar. Or you’d need to loop or record it. This affects the natural flow you could’ve had when doing everything on one guitar.

That’s why my composing method (which I teach) begins with creating the lead part. Then, either afterwards or simultaneously, I add the background elements using fingerstyle on solo guitar.

Below is a track from my latest album (Winter Guitarscapes) that began with this opening melody. I added the bassline and everything else later.

One Time Offer

Reading articles and watching videos about guitar composition is not enough. For example, I work with my guitar composition students in real time, guiding them through the creative process to avoid the pitfalls and challenges, decisions to make, meaning to uncover, etc. Also, every guitar composer and every piece differ in style, genre, and intent. 

Nothing beats working with an experienced guitar composition teacher who mentors others to create beautiful and touching compositions. If you want to explore this option, I invite you to book a free trial session here at no cost or obligation here (it’s a direct link to my calendar). I’ll help you find ways to take your ideas to the next level.