Chapter III

Will shares his strategies for creating strong and memorablemelodies and how to overcome common obstacles faced during the composition process.

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Will has experimented with various compositional

methods throughout his career. While some of these

methods may work for him, he acknowledges that it may

not be right for you. The idea with composition is to find

the strategy that works for you and perfect it.

A common question regarding composition is whether to

write melody first or the write melody first or the chord progression. To Will, both

harmony and melody happen simultaneously. He explains

that in order to create a tune that he is proud of, he has to

work with melody and harmony in context at each point

during the writing process. However, while he may differ

in his approach here, there are other ideas to consider that

are useful in general. For example, you can write a tune

based on a hook that based on a hook that you’ve had in mind that doesn’t already

have a progression associated with it. Also, you may want

to write a tune that is based on a groove rather than any

particular melodic figure or progression.

Will also points out that it is important to branch out of your

own mind for inspiration. You may want to repurpose an

idea that you’ve grabbed from another artist. Also, jazz

mmusicians who are wanting to compose may benefit from

seeking inspiration from a different genre of music

entirely. Ultimately, just like improvising, composition is a

skill and it can be improved over time with consistent

practice.

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The Art of Composition - Overview Ch. 3, pg.29

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“It’s not the melodythat comes first, it’severything at thesame time.”

Compositional Guidelines: Clarity Ch. 3, pg.30� The ArtPGComposition

COMPOSITIONAL GUIDELINES:

CLARITY

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• Avoid putting too much information, weakens the power of the tune

• Whatever gets the results is how you should compose (from 0:55)

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Compositional Guidelines: Economy Ch. 3, pg.31� The ArtPGComposition

COMPOSITIONAL GUIDELINES:

ECONOMY

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• A tune doesn’t get better with more harmonic ideas

• Great tunes often focus on a few good ideas

• Save your other great ideas for material/tunes later

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Compositional Guidelines: Unity Ch. 3, pg.32� The ArtPGComposition

COMPOSITIONAL GUIDELINES:

UNITY

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• Find a way to connect your ideas

• Different sections in good tunes have things in common

• To Will, the tunes that came easily from his subconscious usually work better, due to a natural flow of ideas

• Ask yourself if there is unity

• If not, ditch an idea or sleep on it

• • For Will it’s not melody or harmony first, it’s everything at the same time

• Some exceptions are if you have a specific flavor in mind

• Ideas can come at random times, not if you’re forcing it

• Use a rhythmic hook to give a composition shape at first

• It’s easier to add things slowly to something that is at first simple

•• Composing gets better with practice

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Compositional Guidelines: Influence Ch. 3, pg.33� The ArtPGComposition

COMPOSITIONAL GUIDELINES:

INFLUENCE

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• It’s important to steal for inspiration

• Using the idea of 10 bars from Blue in Green

• Use grooves that may not be in jazz

• Spend at least 10 minutes with an idea to practice composition

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“Upside” by Will Vinson Ch. 3, pg.34� The ArtPGComposition

“UPSIDE” BY WILL VINSON

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• Don’t try to squish everything on one page

• Started with thinking in 3 and creating a simple rhythm

• Repeat ideas (unity)

• Use side stepping to generate interest

Refer to the next page for the leadsheet.

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� “Upside” by Will Vinson - Leadsheet

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“Upside” by Will Vinson Ch. 3, pg.35

Compositional Guidelines: Contrast Ch. 3, pg.36� The ArtPGComposition

COMPOSITIONAL GUIDELINES:

CONTRAST

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• Contrast creates interest and meaning, in this case by repeating ideas with denser harmony

• State a clear idea as early and clearly as possible in the tune

• Leave the right amount openness and space

Refer to the next page for the leadsheet.

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Compositional Guidelines: Contrast - Homework Ch. 3, pg.37

COMPOSITIONAL GUIDELINES:

CONTRAST

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• On the following page, begin a new composition using

using the guidelines that Will gave in this chapter. Feel

free to lift some ideas from his own compositions. If

you’re stuck in a corner, sit back and look for the many

creative solutions that Will describes in detail.

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� Compositional Guidelines - Compose

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Compositional Guidelines: Contrast - Homework Ch. 3, pg.38