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!)

Aural Skills (Ear training) Problems

- Not listening closely enough to recognize consonance and dissonance.

- Not knowing how to use and control dissonance aurally.

- Not knowing what notes and chords are going to sound like before you play them!

- Not being able to aurally (by ear) understand the emotional function of each individual pitch in a scale and a chord.

Technique Problems

- Not having enough physical technique developed on your instrument to do the types of things that will allow you to be creative. If you are severely restricted musically by what your hands are able to do (or rather, what your hands are not able to do), it will be physically hard (or impossible) to do certain creative things.

- Not knowing how or when to control your technique.

- Thinking too much about what your hands can do instead of what you want them to be able to do in order to execute your creative possibilities.

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. The human mind is amazing and can do several simultaneous operations, but the more things you ask your mind to do at the same time, the more difficult it becomes to do any of them well. To really be creative and musically expressive, you need as much of your conscious brain energy as possible to be concentrating on being creative/expressive. 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., how much conscious brain power do you actually have left to think about improvising an expressive guitar solo, create an original 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. Following 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. I found ways to apply this to general musical compositional processes and form. I'm sure there are more ways to apply the principal that I have not yet thought of. If I told you my own discoveries it might hinder you from discovering your own and going beyond what I was able to do. I encourage you to think deeply about how you might be able to apply destructive creation into new musical writing processes.

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. I thought about how this might be applied to my advantage when writing the music for my "Opus 2" CD. Since I had in my mind all of the things I wanted to express in the music, I used this story board technique to better communicate between the right side of my brain and the left side of my brain. I charted out with diagrams, charts, elemental lists, etc. all of my non musical ideas (emotions, thoughts, ideals, experiences, etc.) that I wanted expressed in the music. 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.