Reflections on the Merits of Composing

by John Stowell

Every serious musician should try his or her hand at composing, as there are a number of benefits that can be realized as you develop and hone your abilities to write original music and develop your own style.

At the highest level, improvisation and composition have much in common. A great spontaneous solo has connected motifs, a deliberate sense of structure and dynamics, and melodies which are often memorable and singable. In jazz, original tunes have frequently evolved from improvisations over a set of previously established chord changes. Many of the pieces by the great bebop saxophonist Charlie Parker were created on the fly for a recording session using the changes from show tunes. Examination of his melodies reveals a great musical mind at work, functioning simultaneously as both composer and improviser.

As you begin to compose, you will find that your own concept of improvisation may be a good point of inception. An original melody can start as a simpler version of one of your solos on a set of existing chord changes, essentially your own variation of Charlie Parker's approach. As you spend time with the process, you'll begin to integrate some compositional intent within your improvised solos. Conversely, all of your composed melodies will provide possibilities for variations and extensions that can inform your improvisations.

Of course, there are other approaches to finding your way into composition. Sometimes a single-line study can yield harmony that evolves into something that begins to feel spontaneous and creative. The line can also suggest a set of chord changes to accompany it.

If you're attempting to write and drawing a blank, try jump-starting your creative process by collaborating with a friend or using an existing melody as a point of departure, allowing some variations to evolve and ultimately create something of your own. Making a point of expanding your repertoire can also be helpful; learning lots of great melodies by other composers will give you a good musical database from which to draw upon when writing your own pieces.

If your tastes are eclectic, so much the better! In addition to enjoying jazz standards and modern jazz composers/musicians, I love classical music of many periods, Brazilian music and some World music. Everything I've been exposed to has affected my playing and writing in a positive way.

I began to play solo guitar in informal settings in the late 1970's; over time I found myself drawn to unusual voicings. I began to incorporate open strings into my chords, both in my arrangements of melodies and improvisations. I also experimented with both close and wide intervals in my inversions, in some cases trying to make my sound more pianistic.

When I began to compose, I had a vocabulary of unusual chords at my disposal, and I wanted to incorporate them into my writing. My tunes are all essentially created as chord melodies, written one or two bars at a time. I have no idea how long a piece will be or where it's going when I begin. I have a general notion of wanting to avoid traditional harmony and standard song forms when I write; I also want the progression and sounds of the individual chords to engage me harmonically and emotionally.

For this article I've selected my tune "I Wish" to illustrate my take on composing. I think the piece has an accessible melody, but there are some unconventional elements in evidence here. Note the odd length of the song, the bar of 3/4, and the use of close intervals and open strings in a number of the chords.

After I've played a melody a number of times, I'll find other applications for most of the inversions, perhaps in another tune, to be used to accompany a soloist, or as the basis for some single-note ideas. I'll also extrapolate new chords from an existing fingering in a piece. For example, the opening chord in "I Wish" is a Bm7#5. The open G string is functioning as the #5 in this case. I've explored other inversions of B minor using the open G string as well, and found some new chords that I like. I'm always looking for ways to expand my chord vocabulary, using a formula of intervals, open strings, moveable shapes or unusual fingerings.

Due to the open sound of this melody, I've also experimented with playing the tune and my subsequent improvisation either rubato or with a fixed pulse and no set meter. I have recorded "I Wish" several times, once in a trio with bassist Jeff Johnson and drummer John Bishop (Scenes- Along the Way, Origin Records), and again in duo with vocalist Cheryl Hodge (Heres or Theres, Jazz Boulevard Records).

Click to hear I Wish.mp3.

I hope that my thoughts and examples have provided you with some inspiration in your own writing.

Good luck!
John Stowell

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About the Author

Guitarist John Stowell is based in the Pacific Northwest has performed and taught internationally for thirty years. His Mel Bay Publications book/DVD Jazz Guitar Mastery was published in 2006. Comments and questions are welcome. John can be reached via www.johnstowell.com