Session 5 - Tuning 2 (E-B-E-F#-B-E)

This session marked a return to the original idea from session 1, and the session felt significantly more intuitive. The chord progressions aligned well with the intended mood, recapturing the initial minor tonality. I shifted away from the exact melody and instead used fingerstyle picking within the key. At the five-minute mark, I began singing a melody with some spontaneous lyrics, which could have easily developed into a verse section. Unfortunately, I only gave this idea 30 seconds before the session ended.

Video reference: 5:00–5:15

Session 5 - Tuning 5 (D-A-E-D-B-B)

At 04:36, I ventured in a completely new direction, focusing more intentionally on the sonic characteristics of this tuning. The doubled B strings created a natural chorus-like effect, similar to a 12-string guitar. By 05:55, I had developed an intro melody that felt more “complete” than in previous cycles. A standout moment in this session.

Session 3-Tuning 4 (C-G-C-F-C-E)

Reflection (video):
In this session, I focused primarily on the B part of the song, developing the lyrical and melodic line introduced in Session 2. I had a clear start to the B section but needed an ending that would allow a smooth transition back to part A. Around 03:18, I discovered a descending progression and melody that created a strong sense of arrival. At 04:05, I sang the phrase “home again,” which served as the perfect lyrical and emotional transition into the A section or interlude.

Voice memo summary:
This tuning didn’t feel as intuitive. I was unable to play the hammer-on from major to sus4 as I had in Sessions 1 and 2, which made the feeling of “arriving home” disappear. While it didn’t work as a main guitar part, it did inspire the lyrical phrase “home again,” which became an important moment in the songwriting process.

5.4 Third cycle – post break: “Home Again”

Session 1-Tuning 2 (E-B-E-F#-B-E)

Reflection (video):
I began by experimenting with the open tuning, placing my index finger on the 2nd fret of the F# string (3rd string), which created a major chord when strummed open. I alternated between major and sus4 chords, which immediately gave the session a warm, welcoming feeling. The sound felt familiar, like arriving somewhere or coming home. I started singing a melody that imitated the major thirds in the chords while playing A major – B major – E major – Esus4. This session sparked several ideas and felt very intuitive. I entered the session with a clear and peaceful mindset, and finding melodies came naturally. I also tried to preserve the initial emotional feeling of “coming home” in both the sound and atmosphere.

Voice memo summary:

I decided to keep the chord alternation between E major and Esus4 at the start, doubling the major thirds with my voice to build the melody.

Session 3 - Tuning 5 (D-A-E-D-B-B)

I attempted to return to the initial idea from session 1 but was unable to re-establish it. The session began with a major tonality and quickly devolved into a scattered series of experiments. Although I explored several ideas, nothing cohesive took shape. The session felt like a mix of half-formed concepts and improvisation with no clear trajectory. By the five-minute mark, I still hadn't landed on anything I felt confident developing further.

Descending progression

Question for each session

In this section I will ask the questions as a part of the reflection of my creative process (see chapter on “methodological approach”, p. 20)

Question 1: How did the different tunings influence the melody and harmony of the song?

Session 1:

• Tuning 2 had a clear and immediate warm, intimate feel, which became the main theme throughout all the sessions in this cycle. While the melodic side wasn’t as developed in this session, the harmonic foundation (first chord progression) shaped the direction of the entire song and influenced the following sessions.

Session 2:

• This tuning sparked the idea for the chorus. I followed the major thirds of the chords in the B part, which led to a clear melodic direction.

Session 3:

• In this session, I sang the B part along with the chord progression. The harmony remained consistent, maintaining the warm feeling.

Session 4:

• This tuning wasn’t more influential than the others. It mainly served to let me revisit and reinforce existing ideas.

Session 5:

• Yes, the warm sound of this tuning helped reinforce the song’s emotional tone. It worked particularly well in the B section and sparked new ideas related to the feeling of “home.”

• 
  

Question 2: Did the tuning inspire any unique chord voicings or progressions?

Session 1:

• Yes, this tuning shaped the entire structure of the song. The first two chords created the foundation for everything that followed.

Session 2:

• This tuning felt more textural. It inspired ascending and descending runs and guitar fills to complement the main guitar part. The open-string ringing helped sustain the warm atmosphere.

Session 3:

• Yes, this tuning inspired the descending chord progression at the end of the chorus, which leads into the “home again” transition and return to the A section.

Session 4:

• It sparked a new melodic idea that could work as a hook or interlude.

Session 5:

• No completely new progressions, but it supported and enhanced earlier ideas.

• 
  

Question 3: How did the tuning affect the lyrical and thematic content of the song?

Session 1:

• The word “home” became central, influenced by the emotional tone of the opening chords. This theme remained present throughout the rest of the sessions.

Session 4 - Tuning 5 (D-A-E-D-B-B)

Reflection (video):

This session ended up lasting 15 minutes as I entered a deep state of writing and creative flow. Initially, I was sceptical about using this tuning, I had some bias against it, having previously decided it wasn’t one of my favourites. I had also convinced myself that the previous session had already produced the strongest material. But I couldn’t have been more wrong.

I began by strumming chords, as I had in earlier sessions, enhancing the sonic character of this tuning, especially the two high strings tuned the same, which created a 12-string-like sound. After some experimentation, a new idea emerged around 03:35. I discovered a fingerpicking pattern that alternated between higher strings and bass notes. This pattern became the highlight of the session and completely shifted the direction of the arrangement. Where the earlier sessions had pointed in one direction, this tuning caused a musical U-turn.
Playing the fingerpicking pattern while singing over it felt incredibly natural. The lyrics and melody complemented each other beautifully (07:51–08:13).

I kept writing and experimenting, and by the end of the session, I had finished the lyrics that had previously been incomplete. I also mapped out the full structure of the song, intro, verse, chorus, interlude, and a final chorus where I intensified the vocal performance by singing an octave higher and strumming more aggressively.

I did a full run-through of the nearly finished song, incorporating melodic ideas from earlier sessions, and everything came together seamlessly.

This session became a key moment in my research, demonstrating how returning to earlier ideas and finding the “right” tuning to express them is critical to my songwriting process. It also reinforced the idea that patience is a virtue in artistic work, giving space for ideas to evolve was essential to this breakthrough.

After the 15-minute session, I recorded a 3-minute video breaking down all the parts in detail and explaining how they fit together. (See video reference)

Voice memo summary:

This tuning hadn’t felt particularly inspiring in earlier sessions, but this time it proved me wrong, a proper slice of humble pie. It became the highlight of this cycle.

At the beginning of the cycle, I was drawn to the dark, powerful tone of the open chord strumming. But in this session, I shifted toward a fingerpicking pattern. I also added a new note to the high strings to enhance the tonal richness, as heard in this example (02:20–02:31). This addition added a sense of suspense that aligned perfectly with the lyrical content.

The only challenge was the chorus: the chord shapes I had used in earlier sessions were difficult to replicate in this tuning. For that reason, I plan to record the chorus using two tunings, this one for its rich, textured tension, and Tuning 4 for its stronger bass presence.

5.6 Sixth cycle - Explorations Without Closure

Session 1 - Tuning 5 (D-A-E-D-B-B)

Reflection (video):
This session started off quickly as I began experimenting with vocal and lyrical gibberish. The idea took shape almost immediately, something that felt like it could evolve into a full band arrangement. While it didn’t initially sound like a love song, I ended up moving in that direction anyway.

Voice memo summary:
I began by exploring the open tuning, playing a progression of D major to B minor, then G to A, a fairly typical sequence. Despite its familiarity, this session sparked a lot of lyrical ideas, particularly around 01:10-01:33. The gibberish lyrics clearly pointed toward a love-themed direction. I felt there were elements I could build on but chose not to be too strict as I moved into the next session.

Session 5 - Tuning 5 (D-A-E-D-B-B)

Reflection (video):
This session was focused on bringing together the ideas that had accumulated throughout the cycle. The guitar parts already felt complete, which allowed me to shift attention toward lyrics and melody. I tried to capture the emotional core of “home,” specifically drawing from personal memories of Scotland and my family’s farm.
These are the lyrics that emerged in the B part (05:05–05:45):

“So far away,
So far from home,
When it gets too cold outside
And I’m crying in the rain
There’s always a place for me
To feel,
Home again”.

Voice memo summary:
This tuning had a warm and calming quality. I played the chords using my thumb, which created a “wind-like” sound. The tuning gave me a feeling of safety and stillness. This session inspired far more lyrical ideas than arrangement ideas, it felt like the lyrics flowed naturally and intuitively.

Session 4 - Tuning 2 (E-B-E-F#-B-E)

Going into this session, I wanted to keep some of the chord progression ideas that had emerged in previous sessions. Because of this tuning’s structure and voicings, it felt far more intuitive to explore richer, more textured harmonies.

The original idea at one point involved enhancing the open strings with fills and hammer-ons (02:17–02:37). After playing around with this for a while, a new idea sparked at 04:46–05:00. While it diverged from the original progression, it was still clearly influenced by the chords I had previously worked with. Keeping the love theme in mind, the new melody made much more sense emotionally. The way I was playing, especially the hammer-ons and string resonance, gave me the feeling of a wedding dance. This sparked lyrical ideas that continued to develop throughout the session.

Around 09:00–09:15, a melody emerged that sounded like a chorus, even though the lyrics were mostly gibberish, I was trying to capture the emotional tone and shape of where the song was going. I continued developing the idea and landed on another version at 16:33. While the concept was strong, it wasn’t as intuitive to play due to the capo placement in this tuning, so I moved the capo up a few frets to make it more playable.
The lyrics that eventually formed, with the idea of a wedding dance still in mind, ended up like this:

“Darling we, could dance here forever.
Till our hearts grow old and love turns into gold.”

These lines really captured the love song theme that first emerged back in Session 1, even though the arrangement and emotional tone had evolved significantly.

Voice memo Summary:

What I ended up with was completely different from what I originally intended, but I chose to follow the new direction rather than discard the earlier material. The ideas from the previous sessions still have potential as standalone songs. Interestingly, all the songs feel connected by theme, but each has its own distinct musical identity:

• The first is a more up-tempo, full-band song

• The second leans toward an Irish pub or folk sound

• The third has the feel of a wedding dance

All share the same emotional core, with each tuning contributing in a unique way, yet none of them strictly followed the same idea. I also did one more session in this tuning to try and capture and organize the material from the previous 30-minute session. Around 00:20–00:35, I restated the main theme. Then I revisited an idea from Session 2, which ended up fitting perfectly into the song. Although I diverted slightly from the original concept in Session 1, I felt I still preserved its essence (02:15–02:20). By the end, I felt I had a chorus, an interlude, and possibly a verse, the only thing missing was finalized lyrics.

Exploring (E-Esus4)

5.5 Fifth cycle – post break: “Let Me Burn”

Session 1 - Tuning 3 (F-A-C-G-C-E)

Reflection (video):
Starting in this tuning, I unexpectedly drifted away from its typical major-based tendencies and instead began playing in a minor key. The voicing carried a sad, longing quality, and the emotional tone of the song began to form organically through my playing. I eventually arrived at an up-tempo 6/8 chord pattern. Around 04:37, I came across a beautiful idea that really showcased the emotional depth of this tuning. Although I found the theme inspiring, the tuning itself wasn’t as intuitive for playing minor-heavy material. Some chord voicings were difficult to execute, and the open strings didn’t always resonate well, especially since strumming them open produced a major chord, not a minor one.

Voice memo summary:
I avoided playing the high E string, as it introduced a major sound that clashed with the minor tone I wanted. I experimented with a pattern (voice memo 01:40) that was not very intuitive due to the tuning, but I still want to keep it. The main theme centred around a progression from E minor to G. I used a capo on the 4th fret, as it placed the vocal range in a more comfortable space for me.

5.3 Second Cycle - Ideas without any destination

Session 1 - Tuning 1 (C-G-C-G-C-D)

I started off exploring the tuning through slides, hammer-ons, and pull-offs, playing with the sonic qualities of the open strings in this specific tuning. After about two minutes of improvising, a clear melody and chord structure began to take shape, and I started experimenting with vocal lines over it (02:52). I maintained focus on this idea throughout the cycle. By 04:26, I had additional vocal material that resembled the beginning of a possible verse.

Session 2:

• With the “home” theme in mind, this session is where the first chorus lyrics began to emerge.

Session 3:

• Not heavily influential overall, but the lyric “home again” stood out as the concluding phrase of the chorus.

Session 4:

• While not thematically transformative, the session kept me in a reflective, improvisational state, continuing the lyrical exploration.

Session 5:

• Extremely influential. As reflected in my voice memos and video, this tuning sparked numerous lyrical ideas through its sound and emotional tone.

• 
  

Question 4: Were there any limitations or challenges presented by the tuning?

Session 1:

• None noted.

Session 2:

• The riff sat too high in the register, making the part feel more like a textural layer than a main guitar part.

Session 3:

• Yes, the initial riff from the A section was less intuitive due to the tuning, making it difficult to recreate ideas from earlier sessions.

Session 4:

• Yes, some chord voicings were physically uncomfortable, especially when trying to replicate earlier ideas.

Session 5:

• Not major, but some of the chord shapes felt too open and textural, lacking harmonic definition.

• 
  

Question 5: Did the tuning facilitate or hinder your creative flow?

Session 1:

• No.

Session 2:

• No.

Session 3:

• Slightly, due to difficulty in playing similar chord shapes from previous tunings.

Session 4:

• Slightly, for the same reason as Session 3.

Session 5:

• No.

• 
  

Question 6: Did exploring this tuning inspire any new ideas for vocal melodies or phrasing?

Session 1:

• No.

Session 2:

• Yes, vocal phrases followed the major thirds in the chords.

Session 3:

• Yes, inspired phrasing in the chorus section.

Session 4:

• Yes, it generated an idea that could be used in an interlude.

Session 5:

• Yes, many vocal ideas emerged, inspired by the emotional environment the tuning created.

• 
  

Question 7: Did the self-imposed time constraint have any restrictive effects on creativity?

Sessions 1-5:

• No significant restrictions noted.

Question 8: Did any of the tunings during this cycle feel more “complete”?

Session 1:

• Yes, this session felt the most complete of the cycle. It had a clearly defined chord structure, natural voice/guitar interaction, and stood out as the “main guitar” tuning for the project.

5.1 Results

In this chapter, I present the results of my research. Building on the methodological and theoretical framework including affordances, reflexivity and creative theory, established in the chapter 3.1. This section documents the development and implementation of my artistic research model. The aim is to explore the creative potential of alternate guitar tunings in songwriting. What follows is a detailed walkthrough of my process, including the challenges I encountered, the ideas that emerged, and how the method responded to real-time artistic feedback.

Cycle four:

As I began Cycle four it became clear that continuing through all five sessions was no longer necessary. Returning to Tuning 2 after completing a full cycle, I realized I already had all the components for a complete song, the only element missing was the lyrics.

I spent time repeating the musical ideas and shaping a structure around them. From there, I was able to finish writing the lyrics and complete the song. I felt that pushing through another full cycle would have risked stagnating the writing process rather than supporting it. By focusing on one tuning and using the data I had already collected, I was able to experiment freely and refine the piece. As a result, Cycle four was intentionally cut short, allowing me to focus on completing the work rather than continuing for the sake of method alone.

It is important to note that Cycles One and Two were conducted prior to a one-year break due to personal circumstances. Upon returning, I found that I had not only evolved as a musician but also developed my perspectives when re-engaging with the assignment. This development shaped how I reflected on the earlier material and how I approached the later cycles. In this sense, the break became part of the research cycle itself, highlighting how artistic research is intertwined with lived experience and how time can influence both method and outcome. This ended up leading to a revised research model, which is presented below:

5.2 First Cycle – Exploring alternate tunings

Session 1 - Tuning 3 (F-A-C-G-C-E)

I began by experimenting with the tuning, trying out various fingerpicking patterns and movements in the lower strings. While much of the session consisted of loosely structured improvisation, I stayed within a consistent harmonic range. Around the 2:45 mark, a clearer idea began to emerge. By 2:50, I had developed an ascending picking pattern with alternating bass notes. This pattern felt intentional and distinct, and I identified it as the primary thematic idea for this cycle.

Video reference: 2:50

Session 3 - Tuning 3 (F-A-C-G-C-E)

By 00:56, I had already moved away from the previous melody, although I remained within the same chord progression. Without realizing it, I started playing something very similar to the idea developed in the previous cycle (02:04). At 05:04, I shifted into a new rhythm and melodic phrase, still maintaining the overall mood but diverging from the original idea. Shows that my subconscious has made a recognizable patter in this specific tuning since I’m repeating ideas.

(04:36)

Sesssion 3, (02:30)

Love themed gibberish

(02:52) vocal ideas

(04:37) 

Session 5 - Tuning 2 (E-B-E-F#-B-E)

Session 1 - Tuning 3 (F-A-C-G-C-E)

(00:20-00:35)

Figure 3. Research model (private photo).

(05:04) 

Sesssion 3, (06:05)

(05:55)

Issue with tuning

Chorus idea (A-B-E-Esus4)

(04:26) vocal ideas

"Home again"

(02:15-02:20)

Voice memo 02:53-02:58)

Folk inspired (05:44-05:55)

01:28-01:40

Session 2 and 3 - Tuning 4 (C-G-C-F-C-E)

Reflection (video):

Transitioning into this tuning from Session 1 felt more intuitive. As with the previous tuning, strumming the open strings produced a major chord, which wasn’t ideal, as the high string formed the major third. This conflicted with the minor feel I was aiming for. The session was interrupted by the 5-minute timer, but since I was in a strong creative flow, I decided to continue. I started a new recording and labelled it Session 3, continuing with the same tuning.

The melody I had introduced in the previous session felt much more natural to play in this tuning (Session 3, 02:30).

In this session, I stayed within the same chord structure from the previous session and revisited the melodic idea I had discovered earlier. It felt far more intuitive in this tuning compared to the last one. Around 06:05, I began experimenting with vocal melodies that complemented the arrangement. These supported the emotional tone I was aiming for, cold, distant, and wounded.

Voice memo summary:

While experimenting, I brought in lyrics from a chorus idea I had written earlier, which hadn’t developed into anything. I thought this might help me finish the song. I felt that the guitar and the lyrics were finally communicating the same emotional message.
My initial thought was that I preferred this tuning over the previous one, it felt more natural to work with. An idea for the chorus emerged around the phrase “let me burn.” I played the vocal melody on the guitar, singing E to A while playing G-C-E, then moving up the neck to play C-A-E. This created exactly the kind of tension I was searching for. It felt vulnerable, matching the lyrical content (02:53–02:58).

I then shifted everything up a whole step for the second half of the chorus. This maintained the vocal tension, and the guitar, now playing in a higher frequency, amplified the sense of desperation I was trying to evoke. This sound became a defining feature of Sessions 2 and 3. Overall, I was happy with how this tuning worked out and how quickly the song began to take shape. I chose to go beyond the 5-minute limit to give myself more creative freedom. After finishing this session, I even hesitated to move on to the next tuning, I assumed it wouldn’t feel as intuitive. But for the sake of the research, I gave it a try, and I’m glad I did.

Session 4 - Tuning 4 (C-G-C-F-C-E)

In this cycle, I attempted to continue working on the material from Cycle 3, but I felt stuck and unmotivated. I ended the session early, at 03:15. It was clear that I was no longer building on the idea, instead I was repeating myself and making frequent mistakes, leading to a lack of creative momentum.

Question 1: How did the tuning influence the melody and harmony of the song?

Session 1:

• The tuning supported a familiar harmonic structure (D–Bm–G–A), which gave space for smooth melodic flow and a more pop/rock feel. This allowed the vocal melodies to emerge quickly and naturally.

Session 2 & 3:

• The 6/8 folk feel that developed here was shaped by the tuning’s open string layout. Melodic movement became more flowing and rhythmic, with a strong storytelling quality. The harmony was simplified but emotionally resonant.

Session 4:

• This tuning offered richer and more suspended voicings, which inspired a more expressive, lyrical melody, particularly the “wedding dance” section. The hammer-ons and sustain from open strings supported a more emotional harmonic framework.

• 
  

Question 2: Did the tuning inspire any unique chord voicings or progressions?

Session 1:

• The chord progression was familiar, and voicings didn’t stand out in any way.

Session 2 & 3:

• Yes, the tuning encouraged repetitive but evolving voicings that created a folky texture.

Session 4:

• Yes, the tuning enabled suspended harmonies, hammer-ons, and melodic fills that shaped a unique fingerpicking pattern, which became a central idea in the session.

• 
  

Question 3: How did the tuning affect the lyrical and thematic content of the song?

Session 1:

• The lyrical theme of love appeared early in the session and was heavily influenced by the warm, open feel of the tuning.

Session 2 & 3:

• Although the lyrics from Session 1 didn’t transfer well, the folk-inspired vibe led to new lyrical phrasing and tone. The folky rhythm and singalong vibe turned the love theme into more of a communal experience than an introspective one.

Session 4:

• The tuning’s mood shifted the theme toward something ceremonial and intimate. This inspired the lyrical image of a wedding dance.

• 
  

Question 4: Were there any limitations or challenges presented by the tuning?

Session 1:

• No limitations, but the progression was conventional and needed creative work to feel unique.

Session 2 & 3:

• Some challenges arose when trying to apply older lyrics to new harmonic material.

Session 4:

• Capo placement made some of the new chord shapes awkward to play. The tuning was emotionally resonant but slightly less intuitive in terms of finger positions during transitions.

• 
  

Question 5: Did the tuning facilitate or hinder your creative flow?

Session 1:

• It facilitated flow, the structure and feel of the tuning helped ideas come together quickly.

Session 2 & 3:

• Initially, yes, especially in Session 2, where the folk rhythm and melody emerged quickly. In Session 3, flow was slightly hindered as the session became more unstructured, but it still led to useful insights.

Session 4:

• It greatly facilitated creative flow. I extended beyond the 5-minute limit and entered a deep writing state. The tuning felt inspiring once the fingerpicking idea emerged.

• 
  

Question 6: Did exploring this tuning inspire any new ideas for vocal melodies or phrasing?

Session 1:

• Yes, the simplicity and familiarity of the progression made it easy to find vocal phrasing early on.

Session 2 & 3:

• Yes, the 6/8 rhythm and folk tone encouraged more lyrical and rhythmic vocal phrasing.

Session 4:

• Absolutely. The vocal lines followed the emotional dynamic of the fingerpicking, especially in the “wedding dance” section. The phrasing felt more tender and drawn out, aligning with the lyrical tone.

• 
  

Question 7: Did the self-imposed time constraint have any restrictive effects on creativity?

Session 1:

• No, the session stayed within the limit and felt productive.

Session 2 & 3:

• I moved beyond the time constraint intentionally, which allowed ideas to flourish. The structure was helpful as a starting point but needed flexibility as the writing evolved.

Session 4:

• Not restrictive. I extended the session to over 30 minutes, which helped deepen the writing and allowed for natural exploration without pressure.

• 
  

Question 8: Did any of the sessions during this cycle feel more “complete”?

Session 4:
This session felt the most musically and emotionally complete. The idea was cohesive, and I had a chorus, interlude, and verse-like material. Only finalized lyrics were missing.

Session 2-Tuning 3 (F-A-C-G-C-E)

Reflection (video):
This tuning played in a higher register, resulting in a brighter, more textured sound. It felt more like a supportive layering instrument than a “main” guitar. While experimenting with the chorus idea from Session 1, I started developing lyrical ideas tied to the theme of home. One lyrical phrase that emerged was: “So far away, so far from home.” This tuning contributed well in terms of texture and melodic fill-ins that could complement the main guitar part.

Voice memo summary:
I decided to keep the lyrical ideas from the chorus. They captured the sense of longing for home, and returning to the A part afterward felt like arriving home.

Session 4 - Tuning 1 (C-G-C-G-C-D)

In this session, I once again gravitated toward the core idea from session 1. This time, I introduced more chordal structures into the melodic pattern and leaned into open voicings that allowed the tuning to shine. Despite this harmonic richness, I didn’t manage to develop the idea beyond the initial pattern, and the session eventually felt repetitive and directionless.

Post-Break Reflections on Cycles One and Two

Looking back at my initial approach, it’s clear that it lacked structure, both methodologically and artistically. While a few ideas did emerge during the sessions in Cycles One and Two, the most noticeable and recurring pattern was my lack of structure when transitioning between alternate tunings. I didn’t have a clear plan for which elements to focus on in each session. I also failed to map out chords or potential melodic ideas beforehand, a step that could have saved time and created a stronger foundation. I did not reflect immediately after each session but waited until the end of the cycle. In some cases, even a few days later, which led to lost ideas and forgotten details. Without capturing immediate reflections (e.g., with a voice note), it became difficult to remember what I was aiming for.

In retrospect, these two first cycles were mostly improvisational, lacking clear intent or goals. And when the purpose of the project is to investigate how alternate tunings affect my songwriting, this lack of structure clearly undermined that aim. I had not yet set up the right parameters for myself to succeed.

After the one-year break, several things shifted. First, I had grown significantly as a musician. I had also done personal work that improved my focus and presence, and when I’m better, my art is better. Post-break, I began recording voice memos immediately after each session. These helped capture both musical and emotional details, allowing me to repeat a phrase I liked, describe the mood I was in, or note an idea’s potential. This change made a noticeable impact on the speed and clarity of my writing process. I had clearer guidelines when entering each new session and began shaping ideas more strategically, which in turn made the creative process feel more intentional.

Recap of Research Cycle 1

The most notable change in this cycle was the increased structure in my process. I gave myself time to locate chords in each tuning before beginning, and I recorded voice memos immediately after each session to capture fresh ideas and emotions. This allowed me to stay connected to the theme introduced in Session 1, a theme that then carried through the rest of the cycle. The first session felt particularly intuitive, and the idea that emerged there influenced everything that followed. Compared to my pre-break sessions, it’s clear that I’ve evolved both musically and methodologically. Rather than wasting time trying to force an idea, I’ve learned how to catch creative moments as they appear and continue building from there, keeping the songwriting momentum alive.

Question 1:How did the tuning influence the melody and harmony of the song?

Session 1:

• The tuning influenced the harmony significantly by setting up a minor-toned emotional foundation, even though the tuning is typically suited to major voicings. The E minor to G progression formed the backbone of the song.

Session 2 & 3:

• It felt intuitive and made it easier to stay in the emotional zone I had found in Session 1. The harmony remained similar, but the execution felt smoother, reinforcing the song’s cold and wounded character.

Session 4:

• The fingerpicking pattern that emerged in this tuning opened up a new melodic path. It allowed me to sing more freely over the chords, leading to the development of a new harmonic and emotional direction. This changed the arrangement of the song, taking it into a deeper, more vulnerable place.

• 
  

Question 2: Did the tuning inspire any unique chord voicings or progressions?

Session 1:

• Yes, although the tuning was not minor-friendly, I adapted it by avoiding the high E string. This limitation led to an inventive voicing of the E minor to G progression.

Session 2 & 3:

• Yes, the chorus idea “let me burn” was sung with some voicings on the guitar that created a suitable tension for the theme of the song.

Reflection of all sessions

All five sessions were completed on the same day. Overall, the process felt slightly chaotic and somewhat unproductive. However, one central idea, introduced in session 1 seemed to reappear and influence several of the later sessions. Although I diverged from this theme at various points, I eventually returned to it in session 5. This recurring motif suggests that it could be developed in future cycles. While the session structure helped prompt exploration, the lack of preparation and rapid transitions may have hindered deeper creative engagement.

Session 2 - Tuning 2 (E-B-E-F#-B-E)

This session began unfocused. I spent most of the time repeating material without developing the initial idea. Rather than composing, it felt more like I was aimlessly improvising. The lack of direction meant that I didn’t make the most of the five-minute window, and the session felt more exploratory than creative.

Session 4-Tuning 1 (C-G-C-G-C-D)

Reflection (video):
Unlike the previous session, I was able to play the major-to-sus4 hammer on again. I focused mainly on the A section, searching for new lyrical ideas. However, the tuning didn’t stand out in terms of arrangement potential. Playing the chords in the B section required an uncomfortable stretch in the fingers, which limited my flow.

Voice memo summary:
Although the tuning wasn’t particularly intuitive, I stayed in a musical “vibe” and experimented with different melodies. At 02:33, I found one guitar idea that could work well as an add on melody to an interlude. Overall, tuning 2 and tuning 3 still feel the most inspiring, but repeating earlier ideas helped reinforce them and bring out new possibilities.

Session 2 & 3 - Tuning 1 (C-G-C-G-C-D)

Reflection (video):
I began these sessions by revisiting the lyrics from Session 1 and tried to develop the chord progression into something with more texture. Around 01:28–01:40, I stumbled upon a new idea, which gradually evolved into a folk-inspired 6/8 tune. This marked a significant departure from the original concept, but not in a negative way, the first idea had sparked something entirely new. It felt like I was writing two songs simultaneously.

I attempted to fit the original lyrics onto this new progression, but it felt forced and unnatural. Instead, I stayed within the new folk-inspired landscape and discovered a fresh melody around 05:44–05:55. I got so caught up in the process that I lost track of the five-minute timer.

Voice memo summary:
I reflected on the melodic hook that emerged at 01:28, which had the feel of a traditional Irish pub song. Singing the original lyrics over this progression worked surprisingly well, it had a Mumford & Sons vibe. I continued playing in this tuning because I enjoyed the ideas that were developing. In Session 3, I returned to the lyrics from Session 1 and tried to find new chord progressions to support them. However, this session became more of an unstructured “noodling” phase until I returned to ideas from Session 2. My initial plan to create a new song didn’t fully materialize in this session, which was an interesting shift compared to earlier cycles.

Session 2 - Tuning 4 (C-G-C-F-C-E)

This session lacked direction compared to the previous one. I began by loosely improvising, without fully committing to the idea that emerged in session 1. The overall harmonic feel was much more major than the minor tone of the earlier session. I struggled to find a cohesive idea and felt as though I was simply pushing through the session. There were no lyrics, no strong themes, and no melodic or structural ideas that stood out.

(03:15)

(02:17-02:37)

07:51-08:13

03:35, musical U-turn

(04:46-05:00)

Lyric ideas

3 minute 

Ideas, wedding dance

(09:00-09:15)

(02:20-02:31)

Building on chorus idea

Interlude melody idea

Session 2 - Tuning 4 (C-G-C-F-C-E)