How do you get out of a rut?

[David Jacques]

I'm sure I'm not the only one out there who experiences a case of writers block every so often.  I'm wondering, how do you personally get over it?

I've been finishing up several projects over the last couple months, orchestrating, re-arranging, adding the last finished touch, and self-publishing.  After all that work, and being in the midst of holiday break from school (not having any assignments/compositions lessons coming up to force me to come up with stuff) I've realized that I haven't written any new material in over a month or so.  I've been playing around with some new ideas, tinkering with some themes here and there, but I just can't seem to make any headway on anything.  I can't seem to develop an idea out further than two or three minutes.

Anyone else ever have this problem, or just writers block in general?  How do you go about getting the ball rolling again?

[Norbert Oldani]

Good cures !!!

Jim White said:

What i like to do sometimes when i need inspiration is go outside or something, like go for a run. Another thing I like to do is think of a really emotional memory of some sort in order to bring out more emotions in myself.

You also could try taking your ideas and apply various compositional techniques like retrograde or transposition or changing the harmonies or rhythms.  They may not give you material, but they may just inspire you for more material.

[Andrew Gleibman]

Improvise on your favorite instrument, record in MIDI form, then edit.

The positive side of this: If you practice this often, you will develop an individual style and never be in a rut.

The downside of this: You will have so many inspiring ideas and material that it will be difficult to chose which ones to combine and complete into a music form. For me the rate of material, which I consider completed, is much much less than 1% of all my MIDI records.

[Anthony Cox]

I usually need a deadline and then that sometimes doesnt work. I just try to not put so much value on what I'm doing and just write.I think of it the same way I practice my instument.

[Charles Daniels]

What I do is simply force myself to write, even if I'm not inspired and the music doesn't seem to come to me. I just write stuff, what ever, its not important if it's not perfect (or even good at all), what's important is to get into the flow. I do this with several ideas and, eventually, I start writing something that I actually find pleasing. Then it's time to write a piece.

[Doug Lauber]

That's an excellent idea for those who can actually read music. I'm currently working on a composition that grew out of a simple idea- an idea that I sang into my pocket recorder so I would not forget it. The recorder is a great way to capture ideas when you're away from your instrument.

[Paul H. Muller]

I find that my best work occurs a few weeks in - I have to write my way into a 'zone' and then everything clicks.  This means about 2/3 of what I create will not seem satisfactory, but I know eventually I will get to the good parts.  So I write each week and even if it isn't really good, I know it is part of the process.  This requires a certain detachment from your work - you have to be honest about the way it sounds.  But for me, anyway, continuous writing seems to be the best way forward.

[Anthony Cox]

I wouldn't mind trying that myself(electrshock)

Fredrick zinos said:

Depending on your view of his music, hypnosis worked (or didn't work) for Rachmoninov. Personally, I favor electrocshock , gets those synaptic junctions out of their rut, which is what ultimately causes rut writing. 

[B Gray]

So many very helpful suggestions.  I would add that, besides just persisting and giving yourself a break from evaluating, there is nothing like the charge of having someone perform and react to a piece.  I get slogged down most by indifference around me. 

But I'm no one to talk.  I have huge periods where I get blocked.  Most often its by too much concern over the reactions of others.

[Andrew Highland]

I listen to the composers I love and I almost always get an idea.  I like Tyler's advice about contrasting improvisation with no limits with composing to a set of rules.  The book "Composing Music: A New Approach" gives some great exercises with self-imposed limitations.

[Doug Lauber]

For me, it helps to start with a narrow restrictive concept, ie using four instruments, create a busy chaotic section for one measure, followed by a measure or two of silence, an alternating of positive and negative space. Something like this can be self-inspiring. Another tact is to go through some samples you haven't used much or a neglected synth patch. Unfamiliar sounds can be invigorating and take you to unfamiliar places.