I love power. But it is as an artist that I love it. I love it as a musician loves his violin, to draw out its sounds and chords and harmonies.
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The real beauty of it - key to my life was playing key chords on a banjo. For somebody else it may be a golf club that mom and dad put in their hands or a baseball or ballet lessons. Real gift to give to me and put it in writing.
Since I was doing all of it myself, I had to decide where I wanted to go with the songs, how to proceed with the chords, if the sound was alright, and all that detail on my own.
Ever since I released my first album, I've tried not to use minor chords as the main element in songs. The way I sing is too melancholic.
One chord is fine. Two chords are pushing it. Three chords and you're into jazz.
I do remember actually learning chords to Beatles songs. I thought they were great songwriters.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
In some types of music I'm working out all the chords one bar at a time - the whole structure, because it's about that. And there are other pieces which are really about - okay, the melody is going to start here and play through to here.
As a melody instrument player, it's all about getting from one note to the next, and those intervals and how you navigate your way through these vertical structures of chords. You realize that everything's moving forward, and it's all linear.