Posts Tagged ‘songwriting’

Quote of the day: SONGWRITING

March 18, 2017

SONGWRITING

If you want to catch songs you gotta start thinking like one and making yourself an interesting place for them to land like birds or insects. Once you get two or three tunes together, wherever three or more are gathered, then others come. It’s like a line for a hot dog place, you know? And when there’s four people lined up on the sidewalk, some people will stop and get in line just ’cause there’s a line.

–Tom Waits, interviewed by Wyatt Mason in the New York Times’ T Magazine

Quote of the day: SONGWRITING

October 15, 2016

When people talk about Leonard [Cohen], they fail to mention his melodies, which to me, along with his lyrics, are his greatest genius. Even the counterpoint lines—they give a celestial character and melodic lift to every one of his songs. As far as I know, no one else comes close to this in modern music. Even the simplest song, like “The Law,” which is structured on two fundamental chords, has counterpoint lines that are essential, and anybody who even thinks about doing this song and loves the lyrics would have to build around the counterpoint lines.

His gift or genius is in his connection to the music of the spheres. In the song “Sisters of Mercy,” for instance, the verses are four elemental lines which change and move at predictable intervals . . . but the tune is anything but predictable. The song just comes in and states a fact. And after that anything can happen and it does, and Leonard allows it to happen. His tone is far from condescending or mocking. He is a tough-minded lover who doesn’t recognize the brush-off. Leonard’s always above it all. “Sisters of Mercy” is verse after verse of four distinctive lines, in perfect meter, with no chorus, quivering with drama. The first line begins in a minor key. The second line goes from minor to major and steps up, and changes melody and variation. The third line steps up even higher than that to a different degree, and then the fourth line comes back to the beginning. This is a deceptively unusual musical theme, with or without lyrics. But it’s so subtle a listener doesn’t realize he’s been taken on a musical journey and dropped off somewhere, with or without lyrics.

That song “Hallelujah” has resonance for me. There again, it’s a beautifully constructed melody that steps up, evolves, and slips back, all in quick time. But this song has a connective chorus, which when it comes in has a power all of its own. The “secret chord” and the point-blank I-know-you-better-than-you-know-yourself aspect of the song has plenty of resonance for me.

I like all of Leonard’s songs, early or late. “Going Home,” “Show Me the Place,” “The Darkness.’ These are all great songs, deep and truthful as ever and multidimensional, surprisingly melodic, and they make you think and feel. I like some of his later songs even better than his early ones. Yet there’s a simplicity to his early ones that I like, too.

I see no disenchantment in Leonard’s lyrics at all. There’s always a direct sentiment, as if he’s holding a conversation and telling you something, him doing all the talking, but the listener keeps listening. He’s very much a descendant of Irving Berlin, maybe the only songwriter in modern history that Leonard can be directly related to. Berlin’s songs did the same thing. Berlin was also connected to some kind of celestial sphere. And, like Leonard, he probably had no classical-music training, either. Both of them just hear melodies that most of us can only strive for. Berlin’s lyrics also fell into place and consisted of half lines, full lines at surprising intervals, using simple elongated words. Both Leonard and Berlin are incredibly crafty. Leonard particularly uses chord progressions that seem classical in shape. He is a much more savvy musician than you’d think.

–Bob Dylan, interviewed by David Remnick in the New Yorker (“Leonard Cohen Makes It Darker”)

leonard-cohen-by-graeme-mitchell                               Leonard Cohen, photographed by Graeme Mitchell for the New Yorker

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