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  • this excerpt from the public television program the piano guy

  • is brought to you by the Roland Corporation

  • I'm here with my good friend David Benoit

  • we're just chatting a little bit about song writing and how you personally go about the process of song writing for the

  • tunes that you have written and recorded. Hi Scott.

  • Kei's Song is a beautiful song that you have written. I love that song.

  • obviously pretty well-known

  • why don't you play a couple measures so that we will know what we're talking about here. I'd love to just chat

  • with you about

  • how you compose songs.

  • That really is a lovely song. thanks

  • Give us the backstory on that one. well it is

  • does have kind of a funny story actually. It was right when

  • my wife and I first got married. my wife is from Japan

  • her name is Kay spelled K E I and

  • I was actually writing a song an R&B song for this group which the name I can't right now recall and

  • I can't remember their name

  • The names was something like three ladies that sing

  • R&B . They were very big however many years ago that was probably twenty four

  • years ago

  • and i was thinking this song ...

  • and so I was

  • that is kind of similar

  • but I couldn't get this part ... I only had this ...

  • and I'm working on it and Kei walks over and says

  • why don't you write a song about me

  • Ohhhh ...

  • That's kind of how it worked.

  • well, that's official. she was a muse on that one. Yeah she really was.

  • we talk to a lot of people asking about writing and how you get started

  • we get a lot of viewers

  • asking questions about composing. How do you write a song?

  • what's the connection to the melody to the chords and all that ...

  • I always kind of laugh as I think there are a million different ways that people approach it. do you

  • you typically write something melodically first or do you do the chord changes first?

  • A lot of times I start with the chords first

  • well I a lot of times I start with the chords

  • especially if it is a rhythm song.

  • something kind of funky

  • like "watermelon man" which I did not write but

  • I'm sure that probably he came up with the rhythm lick first and then

  • added the melody.

  • well actually probably when I wrote the bridge first I think started the ...

  • but didn't start that way. It was again it was that kinda

  • How can I make that ...Then

  • okay if I do this ...

  • It just kind of evolves. i mean a lot of it is just trial and error.

  • back and forth and then come up with something

  • David how do you approach the... You do a lot of working, you know, writing.

  • People hire you to either write an arrangement or you are

  • writing for the next album things like that

  • do you really approach it as a gee, it is a job that I need to sit down and

  • and hammer away at every day or

  • I've heard a story about Henry Mancini who is so prolific

  • obviously a fantastic composer, but he had a routine

  • of coming in

  • and sitting in my office so that when his creative moment happens he would insure that he was at his piano

  • he had this routine of coming in and X number of hours a day and he

  • would spend those hours

  • sitting at a piano whether he was sitting there dozing off for not doing

  • anything eventually it would come.

  • How do you do it? do you

  • wait for it to hit you or do you really feel like you need to be spending time

  • seat time

  • I think seat time is really important I think most composers believe there is a

  • discipline to it

  • cole porter was once asked, how do you get your inspiration?

  • He answered, a call from a producer.

  • there's nothing like having a deadline and seat time

  • thank you! Having that deadline.

  • he wrote from nine to one that's a great period of time

  • that's my favorite writing time. in the morning

  • until about lunchtime

  • Once I have lunch and then the day is kind of gone. so that's a precious

  • time and

  • that is the time to close the door to my office

  • we also talked off camera

  • about the fact that it would only take that one song, like Moon River

  • that's right-think about it if that all you ever wrote in your whole career that would be

  • more than enough but ...

  • that's it. It's just discipline time. it is funny it so intriguing

  • sometimes when you think of the

  • marriage of the business end of it with the muse end of it.

  • where does this come from?

  • what what strikes you out of the blue and try to somehow ...

  • interesting to hear so I appreciate you sharing your thoughts on it

  • one more thought and that is

  • in fact many times

  • I like to take walks, and so when I'm on a walk

  • a lot of ideas come to me. it may not necessarily be a melody but it could be

  • imagining the song with strings or an orchestration

  • or an idea of how I can put it together with a certain group. so that

  • is important I think a

  • a balance of time just sitting at the piano but also being away from it and

  • letting your thoughts go free and thinking about imagining how it would sound with

  • the symphony orchestra or

  • vocals ... that's an important process too.

  • Can you play this now? I'd love to hear a full performance of Kei's Song

  • now that we know the back story. alright, okay here it is.

  • it's beautiful thanks. thank you appreciate it

  • all right this excerpt from the public television program the piano guy

  • has been brought to you by the Roland Corporation

  • international manufacturer of the finest keyboard organs and digital pianos.

  • to find out more log on to www.Roland US.com

this excerpt from the public television program the piano guy

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曲を作曲する方法 - ピアノレッスン (How to Compose a Song - Piano Lessons)

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    songwen8778 に公開 2021 年 01 月 14 日
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