I got started at a really young age. I was about two years old when I started playing the piano and around seven or eight when I started writing my own chords and putting words together.
Whenever I work on the computer, I have folders and you know how you always give everything working titles, if you have a riff or a motif or a chord progression or a lyric written on a page, it's just a line or a word or something so I always give everything a working title when I'm making a folder.
"The Hallmark Sessions" is an extraordinary release. Breau plays beautiful chords (sounding a little like Johnny Smith in spots) and inventive single-note lines. It is remarkable that this music was not released until 2003, but a happy event that it was finally put out. This is a must for Breau fans and an important release for all jazz guitar lovers.
I was teaching myself notes from three and then by seven I'd figured out how to play some chords, and at school I used to love writing poems and poetry, so I guess I kind of put two and two together and that formed my songwriting from an early age.
These characters were like twelve-bar blues or other chord progressions. Given the basic parameters of Batman, different creators could play very different music.
The healing power of music is vast. Music therapy is in its infancy in Western psychology. If we knew more, we'd be able to do amazing things, and maybe even make permanent changes in the brain's mysterious workings. With a simple song and four chords, you might be able to do something useful, even life-changing. With all the songs you know, you might be a virtual, veritable medicine chest for the right person.
Time plays like an accordion in the way it can stretch out and compress itself in a thousand melodic ways. Months on end may pass blindingly in a quick series of chords, open-shut, together-apart; and then a single melancholy week may seem like a year's pining, one long unfolding note.
These days I keep a journal, so I'm constantly sketching down my thoughts, or lines that come to me...ideas for songs. And then when I have a moment to myself, I'll sit down with my guitar and open my journal, and start kind of massaging things together, and see if a song takes shape. Or sometimes, I'll just be hanging out with my guitar and come up with a chord progression or a lick, and that'll sort of sit around for a while waiting to marry itself to some words. So it's sort of haphazard and it's like...junk culture. I go around finding shiny objects and I glue them together laughs.
Paul Simon once said that a songwriter's supreme challenge was being complex and simple at the same time-writing songs with lasting depth that are also simple enough to be memorable. Jimmy Van Heusen was a master at this kind of song. His music was complex, with deeply rich chord changes any jazzman can embrace, but also possessed catchy, crystalline melodies of exceeding sing-ability. His songs were meant to be sung, not just listened to, and they were sung by the best, with Frank Sinatra and Bing Crosby at the top of that list.
I think emotion is just anything that is emotional, you know, people can feel with music. Music is already so emotional, like the strings, the chords, and the notes and the melodies and stuff. And then you throw on a topic that everyone can relate to. That's gonna be real music.
I met the pianist Barry Harris when I was about fifteen. He would show me changes, which I had no idea existed. I knew about scales, but I didn't think about chords. I was fortunate in that he lived right around the corner so I'd be at his house almost every day and he showed me about playing melodies over chords. After about three years, I could play some gigs. I worked with drummer Roy Brooks and other guys my age at that time, like trumpeter Lonnie Hillyer. Some of the older guys were Paul Chambers, Doug Watkins and Louis Hayes
What I think I do is to relate any new material to how similar it is to something else. The closest that I can come up with something that's already in my experience, the easier it becomes. All I have to do then is remember where it differs, like relating a chord sequence that comes from some other tune, or several different tunes, or maybe parts of them and then work it from there.
People listen to the music and sense what it is about. Sometimes they know exactly what the songs are about, sometimes they interpret their own meaning to the music, and thats great when this happens because it shows its striking a chord.
The artist who does not feel completely satisfied by elegant lines, by harmonious colors, and by a beautiful succession of chords does not understand the art of music.
She had died peacefully, in her sleep, after an evening of listening to all of her favorite Fred Astaire songs, one crackling record after another. Once the last chord of the last piece had died out, she had stood up and opened the French doors to the garden outside, perhaps waiting to breathe in the honeysuckle one more time.
Rock & Roll is the physical thing that just comes out of you .. the other stuff you have to sit down and learn .. once you learn scales and chord progressions, you can make up your own versions
The topic of leadership is a touchy one. A lot of leaders fail because they don't have the bravery to touch that nerve or strike that chord. Throughout my years, I haven't had that fear.
I also generally play slide guitar in standard tuning, which enables me to switch back and forth between using the slide and fretting notes and chords conventionally without having to relearn the fretboard, as one must do when playing in an open tuning.
...every once in a while it seems like the cosmos part and something great plops into your lap, that's how it was with "Hotel California".. a leased beach house in Malibu ... all the doors wide open on a spectacular July day probably in 1975 ... soaking wet ... thinking the world is a wonderful place to be... with an acoustic 12 string ... those chords just oozed out.
Every person, every race, every nation, has its own particular keynote which it brings to the general chord of life and of humanity.
... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
The chords in 'Light My Fire' are based on [John] Coltrane's version of this song. He just solos over A minor and B minor, which is exactly what we did. Coltrane had played with Miles on Kind of Blue and took the idea of modal soloing over one or two chords farther out than anybody. He was a real pioneer - he just kept evolving, going where no one had ever gone. He could always attain this state of ecstasy when he played. Live, there was so much energy, you couldn't believe it. He would play for hours. It was indescribable.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
I bought one of those Learn How to Play Guitar Chords By Yourself and it shows you the diagram where to put your hands and I took that in my room, sat with my singles and learned how to play guitar.
A young nurse, someone new whom he didn't recognise, came up to Henry and patted him on the arm. "Are you a friend or a family member?" She whispered the question in his ear, trying not to disturb Sheldon. The question hung there like a beautiful chord, ringing in the air. Henry was Chinese, Sheldon obviously wasn't. They looked nothing alike. Nothing at all. "I'm distant family," Henry said.
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