Postby rahau » Thu Feb 17, 2005 7:25 am
Dear Ms. Abramowitz:
Thanks for taking the questions. First: Speaking of Q&A, I’m wondering if I’m the only one who, while watching “Inside The Actors Studio,” has casually thought, How would Vienna answer the James Lipton/Bernard Pivot Questionnaire? No doubt, many of your fans are simply dying to know your favorite curse word.
My question: I’ve always wanted to hear more about your background as a classical pianist. Is it true, as the SF Chronicle once reported, that you gave two-hour piano recitals while still in your teens? Are there any Klavierwerken that remain particular favorites? Any you would like to try your hand at, someday? Just a thought, but I think it would be a huge kick to hear you perform Gershwin’s “Concerto in F” with MTT and the SF Symphony.
About songwriting: Good heavens, most people have no idea how hard it is. We’re talking about two completely different crafts: musical composition and poetry. Most of the songs in The Great American Songbook were written by teams - one composer, one lyricist. In those days, the music took precedence over the words. The lyrics were usually some sort of love song, and were never meant to complete with, say, Rilke or Ferlinghetti. (Although, to be fair, some actually could. Sometimes I Wonder … As Time Goes By.)
With the advent of the singer-songwriter in the sixties, the lyrics took center stage, and the music became secondary. Most of the songs written in the post-Dylan era have had lyrics of great depth, but the music remains pretty simplistic, rarely straying far from the tried and true chord progressions. Offhand, I can only name a few singer-songwriters who are equally adept at writing music and poetry on an equally challenging level. Janis Ian. Paul Simon. A certain songwriter from Saratoga, California …
Good lyrics, like all good writing, must have what the noted editor Rust Hills called “an originality of perception and utterance.” In other words, seeing and saying things from an entirely new perspective. Easier said than done. How many songs have been written about couples breaking up? Too many to mention. How many have been as powerful and memorable as Janis Ian’s “In The Winter,” or your “Between?” Not many.
The key to good music is in the chord progressions. The melody is always the child of the chords. Too many modern songwriters simply don’t know enough about music, and end up with chord progressions that are either ploddingly dull and predictable, or bizarre and jarring for the sole purpose of being bizarre and jarring.
I vaguely recall an interviewer once asking you about the similarities between songwriting and software. You replied that chord changes are a form of sequential logic. I almost stood up and cheered when I read that. I’ve always thought that really good chord progressions are like the plot of a good novel. They draw you in, they hold your interest. They may seem to go off in unexpected directions, but in the end, they make perfect sense.
Funny thing – if there is one person on this board who shares my tastes in music, it’s my friend Jack. He’s a self-described “bumblebee,” who is primarily lyric-driven. I’m an ex-music major who is primarily music-driven. We have totally different perspectives, yet we agree on most things, especially your songs and singing. So forget all that corporate market-research claptrap, and just write the best songs possible. Trust your instincts and talent. What the hell, it seems to be working pretty well so far.
And for pete’s sake, please don’t even think about a goddam makeover. Oy vay! You need a makeover like Donald Trump needs more real estate. I think most of us would agree with the lyric from My Funny Valentine:
“Don’t change a hair for me,
Not if you care for me…”
Sorry for the length of this post. Hey, Ang Mo shouldn't be the only one allowed to rant!
Mazel Tof, and Gong Xi Fa Cai!
If someone knows the phonetic pronunciation please let me know.
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