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“The artist is nothing without the gift, but the gift is nothing without work”

Emile Zola

I am currently reading “The Gift”, by the estimable Lewis Hyde. I shall have more to say about the book once I have finished it, but already all manner of fascinating thoughts and notions have been triggered thereby.

Sadly, as befits my increasingly elderly status, I cannot now recall exactly how I came to the book in the first place, though I feel certain that it must have been referenced in something else that I was investigating. That is normally the way these things happen – to me in any case. I do know that I was greatly attracted by this quote from the foreword by Canadian icon – Margaret Atwood:

[A] classic… If you want to write, paint, sing, compose, act or make films – read ‘The Gift’”

One motif from the book has already attracted my attention and formed itself into the outline of a song. I certainly did not set out with this in mind, but the muse – as we all surely know – works in wondrous and unexpected ways…

…as became all the more apparent late one night last week.

I find quite frequently that one of more elements of a new song will unfurl themselves relatively rapidly and without my having any real idea as to how this has happened. At this point I might well get stuck – with no idea how the piece will proceed from its temporary conclusion.

My normal procedure – with a view to jump-starting proceedings – is to play/sing repeatedly that which I have already written, in the hope that the next part of the composition will suddenly reveal itself to me by emerging organically from the elements that I already have. This sometimes has the desired effect but as often as not simply results in my straining way too hard for a result and ending up with nothing of any use.

Now I am a night owl. The Girl heads for bed reasonably early but I often get in a couple of hours work before I follow her. This I was doing the other night, in my search for a suitable chorus for the new track. I could feel that my efforts were going nowhere and – having an early start the following morning – I decided to call it a day.

I shut everything down in the studio – doused the lights and tip-toed upstairs in the dark. No sooner than I had emerged onto our main floor than the whole chorus arrived in my head – out of nowhere! Not only did I get the melody and the phrasing but also the harmonic progression and half of the words.

Now – how did that happen!

Of course – to ensure that my flash of inspiration was not lost to posterity I was obliged to scuttle back downstairs, to power everything up again and to rapidly commit this latest gift to my recording software – lest I should forget it again overnight…

What a wondrous thing is the creative process!

Thank you…!

 

 

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By Walter Albertin - This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID cph.3c14346.This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information. Public Domain, https://commons.wikimedia.org/w/index.php?curid=30034723This post is the second in what will be a very occasional series (the first such having been contrived back in March 2014 on the subject of The Who’s ‘See Me, Feel Me‘!) on fleeting moments of musical genius.

When I heard a short while back that Paul Simon was about to retire from touring at the conclusion of his current expedition I realised that – though I am an enormous fan of the man – I have never seen him perform live. I was, fortunately, able to acquire tickets for the Vancouver concert in May and thus to avail myself of an opportunity to rectify this anomaly before it is too late.

Now – few would deny that Simon is a songwriting genius. As I have pointed out previously, a lyricist who can use words such as ‘misconstrued’ and ‘pertains’ or phrases such as ‘doggedly determined’ and ‘arc of a love affair’ without coming over as precious, is quite clearly walking a considerably better walk than are the rest of us.

In this instance, however, the subject is not the lyrics. As was the case with The Who’s perfect palimpsest this post concerns a musical moment, one which occurs in that quintessential Paul Simon solo contribution to the ‘Bridge Over Troubled Water‘ album – ‘The Only Living Boy in New York‘ – a song written in reaction to Simon’s being left alone in New York on the occasion of Art Garfunkel’s trip to Mexico for his acting role in the filming of Joseph Heller’s ‘Catch-22‘.

The song is a magnificently wistful meditation on Simon’s solitary state, greatly enhanced by the gorgeously sinuous bass playing of the great Joe Osborn. Two verses in it hauls itself into the first of two vocal renditions of one of Simon’s brief but typically splendid tension-raising bridges. As it cascades back into the verse Simon’s solo voice is replaced with a distant ethereal choir which matches – wordlessly – the delicate acoustic guitar chords that give structure to the song. For the third line of the verse the ‘aaahs’ sweetly follow the descending bass figure, pausing momentarily before swelling into the final cadence with a heart-tugging “Here I am” that makes the hairs stand up on the back of this jaded hack’s neck.

The empyreal choir (actually Simon and Garfunkel themselves tracked a dozen or more times) reprises its verse twice more in the playout to the song – each time with a little greater intensity and drowning a little deeper in reverb. This delicious effect was achieved by recording the harmonies actually inside the echo chamber at Columbia’s LA studio.

For those who must know such things I believe that the harmonic progression for the phrase concerned can be annotated thus:

|Emaj7 Emaj9|B Abm7#5/E|

Pure magic!

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