Songwriting, Part 25 – Hess songwriting training

I. Introduction

1. creativity is trainable (and must be trained separately)

the program argues that songwriting has two parts:

technical skills (structure, harmony, etc.)
creativity (idea generation, imagination)

most people ignore the second or treat it as random inspiration. that’s a mistake. creativity is something you actively train—like going to the gym.

2. the 4 “personas” (core concept)

every creative process has 4 distinct roles, and mixing them up causes writer’s block:

madman → generates ideas (no judgment, quantity only)
architect → organizes and selects ideas
carpenter → executes/records the plan
judge → evaluates and decides what to fix

key rule: only one persona at a time
most people fail because the judge interrupts too early and kills ideas

3. writer’s block = role confusion

this is one of the most practical insights:

if you’re stuck, you’re probably using the wrong mindset
especially: judging while trying to create

solution:
separate phases clearly and control when each persona is allowed

4. sensory writing (training creativity directly)

daily exercise (5–10 min):

write only sensory details (images, sounds, textures, etc.)
no opinions, no judgment
no need for it to “make sense”

purpose:

strengthens imagination
trains idea generation on command
builds raw material for songs

this is essentially “fueling the madman”

5. artistic songwriting vs random songwriting

two approaches:

“hail mary” → noodle first, assign meaning later (common, weak)
“artistic writing” → decide emotion/idea first, then build music to express it (recommended)

key shift:
start with intention, not sound

6. “show, don’t tell”

instead of stating emotions directly:

use sensory details to imply them

this applies to both lyrics and instrumental music

process:
emotion → sensory imagery → musical decisions

7. the 7 elements of music (your control system)

everything in music expresses emotion through:

melody
harmony
rhythm
texture
timbre
dynamics
form

you intentionally choose each element to match your idea

8. dynamics = mindset, not just volume

important correction:

dynamics are not just loud/soft
they represent energy and intention

also:

there is no “neutral” dynamic (it sounds lifeless)
contrast creates emotional impact

9. rhythm of language influences music

language rhythm (stress patterns) shapes musical phrasing
“common metre” (4-3-4-3) appears everywhere in songs
stressed syllables = rhythmic accents

this helps with:

lyric writing
phrasing
melodic rhythm

10. tempo is physical (walking analogy)

tempo = how fast your body would move in that emotion

exercise:

feel emotion → walk → that speed = your tempo

this is a strong insight:
tempo directly affects emotional perception

11. form vs formula

most pop songs follow:
verse → chorus → verse → chorus → bridge → chorus

but:

this is a formula, not a rule
real goal = understanding form so you can break it intentionally

12. idea generation systems (not waiting for inspiration)

examples:

“idea collider” (combine random words to spark ideas)
dramatizing everyday events into emotional stories

core principle:
you don’t wait for ideas—you generate them

13. topic selection matters more than technique

big truth:
many musicians have skills but nothing to say

solution:

start with a clear emotional or conceptual goal
exaggerate and dramatize ideas to make them meaningful

14. architecture: connecting musical ideas

when combining sections:

analyze differences using the 7 elements
either:
adjust sections to match
or create a transition (bridge)

important insight:
transitions often become the best part of the song

15. big picture (what this is really teaching)

this isn’t just songwriting—it’s a system for thinking creatively:

separate creation from judgment
generate lots of raw material
organize intentionally
execute without overthinking
evaluate strategically

and repeat