7.1 Conclusion

Prior to this thesis, I had not given much deep thought to the process of songwriting beyond simply following the “flow” or trusting my gut feeling. Lyrically, I would often let the arrangement, or my emotional state guide the direction of a session. I had never documented or tracked any part of my process, so there was little room for self-analysis or reflection. However, during the development of this research method, and especially after it, my approach to songwriting has changed significantly. Becoming more aware of my creative process has helped me access a deeper state of flow, while also allowing space for the tunings to contribute emotionally and structurally to the writing. The model I developed throughout this project continues to influence my songwriting practice, even beyond the documented sessions.


Following my one-year break, I have written many new songs using elements of the method explored in this thesis. The approach has become a natural and effective way for me to create, blending structure with intuition in a way that feels sustainable and authentic.


The cycle I used for my research could easily be adapted by other songwriters. For writers experiencing creative block, exploring a different palette of tunings and chord voicings could help them discover new melodies, or the emotional tone of a session might trigger a memory or feeling that inspires lyrical or musical development. Additionally, for artists who feel overwhelmed by open-ended creativity, setting parameters that support, rather than restrict the process can be extremely valuable. This research has shown me the importance of recognising that all stages of creative work, whether they lead to a final product or not, contribute meaningfully to artistic growth. Whether experimenting with guitar, vocal phrasing, or lyric development, the ability to self-evaluate becomes a key part of the process. It reinforces the idea that the songwriter is not only the creative engine but also the reflective researcher of their own artistic practice.


While not every cycle led to a finished song, each session contributed valuable insight into my creative process. The contrast between the pre-break, post-break, and final cycles highlights the evolving relationship between structure, intuition, and outcome in my songwriting. Completing two songs after reworking my method shows the potential of a more focused approach, while the unfinished ideas from later cycles reflect the ongoing, non-linear nature of artistic creation. Although this thesis documents two completed songs as part of the formal research cycles, it’s worth noting that the influence of this process has extended well beyond the boundaries of the project itself. Between documented sessions, I have written numerous other songs using the same tunings and adapted versions of the research model developed here. While these works are not included in this thesis, they stand as further evidence of the creative potential and practical value of the methods explored in this research.


Ultimately, within the span of this thesis have created a model that helps me answer the question: How do alternate tunings on the guitar affect the songwriting process and its outcome? Concrete approaches resulted in definitive results, demonstrating that alternative tunings not only improved the harmonic textures of my compositions but also enhanced the emotional depth of my vocal phrasing and lyrical composition, thus improving my overall songwriting experience with alternate tunings on the guitar.

7.2 Grounds for further research

While this project explored the creative potential of alternate tunings in songwriting within a solo context, future research could investigate their role in collaborative songwriting, explore audience perception of tuning-related emotional differences or examine how different musical backgrounds and genres interact with alternate tuning affordances. Further studies within this field could give a broader understanding of the creative and emotional dimensions alternate tunings offer.


By publishing this on Research Catalogue.net I hope it will reach a wider audience and inspire more like-minded musicians and researchers to further explore within the exciting field of alternate tunings, songwriting, and artistic research.