Teaching

Having been reinforced by my teachers and mentors, below are some general compositional guidelines that have proved helpful.

AMAPFALAP (As Much as Possible from as Little as Possible) from Will Johnson via W.A. Mathieu
One musical idea can be the seed from which an entire composition will grow. Apply transformations (transposition, inversion, retrograde, augmentation, diminution, dynamics, texture, timbre) to a main idea to generate new content. See The Listening Book. 

INSPIRATION IS EVERYWHERE
The spark for your next creation might come from somewhere you least expect.  Your favorite rock tune, video game theme, or natural soundscape might be the perfect place from which to musically borrow. Leave your ears open to all music and sound and seek out new and unfamiliar music and art to stimulate your creativity. 

PRE-PLAN YOUR FORM
Before you even begin formally writing your first note, map out the form of your composition. Draw a picture that reflects the succession of musical ideas/motives/ textures you are considering including and how long each section might last.  It can always change. This composer and video is particularly inspiring.

SING
Try to sing everything you add to a score.  Regardless of the harmonic language or compositional context, a singable line or rhythm is generally a good one. Singing is the best way for you to embody the music you create.

CHANGE METER & TEMPO
We often forget that musical temporality is flexible, especially when using sequencers and notation software. When possible and appropriate, break from the shackles of duple time and a single unchanging tempo to make your music more alive.

RHYTHMICALLY ANIMATE HELD NOTES (especially in a bass voice)

Unless it is demanded by the texture you are creating, don’t settle for letting notes sustain through the measure.  Even a simple rhythm repeated on the same note will make your music less static.

ELLIDE PHRASES
Transitions are hard! Strive to design sequential musical phrases where the beginning of the new phrase starts simultaneously with the end of the previous one.

MUSIC THEORY RULES!
It does and they are important!  And despite the fact that you may not be writing music in the style of composers you study in theory classes, the overall lessons you learn from part-writing, form and analysis, and counterpoint are universal e.g.: voice leading is key to musical flow; spacing matters; music works when tension is created and released. 

In a creative bind?  Try an Oblique Strategy!