There are no wrong notes in jazz: only notes in the wrong places.
There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard.
I guess everywhere I go, I get inspired by those places, and then I have a bunch of Voicenotes on my phone. Everywhere I go, I think of these random melodies. It's crazy because everywhere you go, the melodies are totally different.
Digressions are part of harmony, deviations too.
There are only a few notes. Just variations on a theme.
There is nothing like a Bach fugue to remove me from a discordant moment... only Bach hold up fresh and strong after repeated playing. I can always return to Bach when the other records weary me.
My music has always been strong in melodic content.
When I sang, I couldn't help making those little curves. People would say, 'Why don't you sing straight?' But I have always had to put something in.
The variations I've composed on the graceful Neapolitan ditty, 'Oh Mamma, Mama Cara,' outshine everything. I can't describe it
Traveling all around the world, music sounds different.
I do have a way of playing piano where it's very melodic and emotional, but then often it's great if whoever's singing doesn't sing exactly what's in the piano melody, but maybe it's connected in some way.
Purple - I mean, the music and the influence and the subliminal touches range from orchestral conversation to jazz to blues and soul and God knows what. It's a vast range of expressions.
Some composers end up writing for the guitar as they would write piano music or, more often, harp music. It isn't the same.
I think I have a sound or a certain feel in certain harmonies in the way I construct melodies.
They're not particular about whether you're playing a flatted fifth or a ruptured 129th as long as they can dance to it.
