3 Simple and Quick Ways to Compose for Guitar
If you’ve ever wanted to compose but felt stuck—unsure where to start, short on time, shaky on harmony, or unable to connect ideas into a complete piece—this is for you. In a recent session, I shared three practical composing methods that make writing music feel surprisingly doable, even in a short amount of time.
The big idea is simple: composition becomes easy when you have a framework. Inspiration is wonderful, but it’s unreliable. Craftsmanship is what turns sparks into finished music.
What’s Really Stopping Most People From Composing?
Before getting into the methods, I highlighted a few common obstacles that come up again and again:
“I don’t know where to start.”
A plan fixes this immediately.“I don’t have time.”
A clear process helps you write faster and waste less time second-guessing.“I don’t know enough harmony/theory.”
Ironically, composing is one of the best ways to learn theory because it forces you to apply it in real time.“I can’t turn ideas into a whole piece.”
A structure (like the ones great composers use) solves the “then what?” problem.
A quote I love fits perfectly here: without craftsmanship, creativity is just a reed shaken in the wind. The goal is to build repeatable craft.
Method 1: Write a Melody Using a Proven Structure (ABA)
The first method starts with something almost everyone knows: Twinkle Twinkle Little Star (yes—connected to Mozart).
The point isn’t to copy the tune, but to copy the structure:
The piece is ABA
The A section returns at the end
The B section often repeats small units
The melody has a clear shape (rising/falling)
It uses mostly stepwise motion with occasional leaps
It relies on repetition to feel memorable
Then you choose:
A one-octave scale (your “palette” of notes)
A simple ABA layout
And write just a few bars—because repetition does the heavy lifting
This method shows how quickly a “real” melody can appear once the blueprint is in place. And the reminder is important: simplicity is not weakness. Simple melodies often last the longest.
Method 2: Compose from a Chord Progression (One Chord Per Bar)
Some people think harmonically first, so the second method flips the process:
Choose four chords → that’s your A section
Choose four contrasting chords → that’s your B section
Return to the first four chords → back to A
Add optional texture later:
arpeggios
rhythms
a top-line melody
fingerstyle patterns
A great discovery from this approach: you can often make a beautiful piece with simple chord choices, and you can even allow a small “randomness factor” in choosing chords. The structure keeps it coherent.
This method is also perfect if you like strumming first and refining later.
Method 3: Use a Template from a Real Piece
The third method is the most powerful long-term: compose using a template.
A template is more than ABA—it can include:
phrase lengths
harmonic rhythm
key areas
texture changes
where the “climax” happens
cadence points and endings
You take a piece you know well, study what it’s doing structurally, and then write your own music using that “map.” The result often sounds surprisingly original because you’re borrowing the deep structure, not the surface details.
In the session, I shared an example where a member composition was created using a template inspired by Adelita, showing how this approach can produce beautiful, personal results even early in someone’s composing journey.
The Real Takeaway: Structure Creates Freedom
All three methods are built on one principle:
When you don’t know what to write next, your framework tells you.
That’s why composing stops feeling mysterious and starts feeling practical—and even fun.
If you’re new to composing, pick one method and try it today:
write an 8-bar ABA melody from a one-octave scale
map out 8 chords into an ABA structure
or borrow a template from a piece you already love playing
You’ll be surprised how quickly the music starts to arrive once the process is clear.