It was in Shizuoka, where my home was. I first attended this school when I was five years old. I also attended a regular elementary school, and I was taking piano lessons with a local teacher. I began to study composition at the Yamaha school. And I continued to study there until the age of 15.
The most influential time in my life musically was definitely those piano lessons.
Psychoanalyses is like music lessons, for 5 years you do not notice any progress and suddenly you can play the piano.
It's very important to have a good song - one where you can strip away all the production and just play it on guitar or at the piano. It has to hold its own. That's why I've put videos online with acoustic versions of my songs, so you can hear them in their original form.
I work with a lot of production that's really positive and contains a lot of soul stuff. Those instrumentals project the happiness out of me. But, sometimes I get a darker beat, with some dark piano or something... and then I'll do darker tracks.
Mac [Barnett] and I prank each other during our presentation. We show baby pictures of each other looking completely ridiculous. I can't believe the frilly shirt that I'm in, and Mac's wearing a sailor suit and playing a toy piano. That's a perfect example of a good prank, where we have three hundred people literally laughing in our faces, three hundred kids at every assembly. And it feels really good. It's really fun.
My dad, who plays guitar and piano and was in cover bands, along with my older brother, Matt, taught me guitar and stuff. I started writing acoustic songs and playing by myself in 7th grade.
Everything that I do I hear and then I go with my hands, and since I use my hands for both piano and guitar that is kind of hands-on.
I tended to listen to doo-wop, but my grandmother would always have the radio on all day and she'd start with Yiddish and then move on to gospel and later to "make believe" ballroom music. I got to hear all kinds of music and my mother would get up to go to work listening to country music. That was her alarm clock. My dad was a jazz lover and listened to the man who wrote "Misty", Errol Garner. He loved piano players, so I got to listen to that as well.
I've been playing videogames since before my career in this business, but what happened is several videogame companies were recruiting students back then and I applied with barely any hope of getting accepted to any of the companies. However, I got accepted! Although my path was already set to become a piano instructor, I chose the path of videogames instead. My parents cried, my friends were worried and my teacher was stunned (we're talking about way back when game music wasn't as popular as it is these days).
The piano is really the featured instrument of a 10-piece chamber orchestra. The construction is the harmonic language.
I really love the piano and I feel very fortunate that I am able to play and travel all over the world as my career.
I sat down at the piano and my hands began to browse over the keys. Thensomething happened. I felt as though I could reach out and touch God. I foundmyself playing a melody, one I'd never heard or played before, and words came intomy head - they just seemed to fall into place.
I'm really getting better at guitar. I'm not trapped behind a piano. You can get out and move with a guitar and still direct the band.
There have always been people making music. On their porches, playing folk songs. Playing piano in quiet salons. You don't have to listen to every MySpace page, so what's the difference? It's just noise that you filter out.
The church, by and large, has had a poor record of encouraging freedom. She has spent so much time inculcating in us the fear of making mistakes, that she has made us like ill-taught piano students: we play our songs, but we never really hear them because our main concern is not to make music to avoid some flub that will get us in dutch.
I always believe that every song tells a story, so the last thing I want to do is edit out like the meat of the story. I would pick songs based off a), whether I felt like I could do anything with them, and b) whether I felt like I could keep the story intact. And then you sit in with one of the piano players and one of the vocal coaches and kind of work out your arrangements that way.
My father had played cornet, although I never saw him play it. I found his mouthpiece when I was a kid. I used to buzz it. And my mother played piano and sang in the church choir for different functions. So there was always music in the house, jazz, gospel, or whatever. Especially jazz records.
I like to listen to a lot of classical music when I'm painting, the most simplistic stuff I can find. I like simple piano.
By the time I was six or seven-years-old, I had learned several techniques of how to use my voice and was able to choose the sound I wanted to distinguish myself, so I started writing songs on the piano.
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.
I never planned on being a live performer. My whole forte was about being in the studio, producing, playing the piano on recording sessions. I was all about the studio.
I remember coming home from school - I couldn't wait to get to the piano so I could play and practice.
I'm so used to it, I think I'd feel very naked on stage without a piano.
I've never really not played the piano. I've played it since I was six or seven and it's something I've always done - I don't think I could ever really play anything else, I would be a bit out of it without a piano.
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