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The composer of Alexander Who's Not, Not, Not, Not, Not, Not Going to Move talks about his own path to songwriting and gives advice to students.
How did you get your start in music?
I picked up piano naturally when I was about four or five. The woman upstairs
was a piano teacher and I was just fascinated with the piano. They say I sat
there for like 40 minutes until I found a pattern that I really liked on the
piano and then I was satisfied sitting down having written something for it.
I ended up in journalism school. I went to New York and worked as an advertising
copywriter, but I learned of a wonderful program called the BMI Composer’s Workshop.
BMI is a licensing corporation very similar to ASCAP. They’re the organizations
that get royalties to artists. BMI’s Composers Workshop taught by Leyland Engel
who is a legend in the business. I loved it like crazy and actually started
to write children’s shows in New York.
What is your creative process when you’re writing a song? Do you start
with a melody or do you start with lyrics? Is it different for each one?
It’s really different. I find that in most theater senses, usually the writers
I work with write lyrics first. They may not be complete, but most theater projects
come lyrics first. Or even if it’s not lyrics first, at least the lyricist has
talked about the scene in which the song goes.
You have written shows for families and for adults. What is the difference
between writing for adults and writing for children?
You can be a little more oblique in an adult show. You can talk about things
that are a little more sophisticated. You have to deal very directly with kids.
You can’t beat around the bush.
They know what they want to hear. You can’t be too sentimental, you can’t be
too romantic and there are certain situations that kids just don’t even want
to see. So, as a composer I’m always thinking of what is going to appeal to
a kid. I find myself listening to source material that might appeal to kids.
Do you have a preference between writing for children and writing for
adults?
The thing I like about children is their response is immediate. You know immediately
if they like it. They don’t hold back even if they don't like it. They just
sit there and do nothing only if they don’t get it. Adults will clap and still
hate it. And then they’ll dissect it piece by piece. With kids, there’s never
that worry.
What advice would you give to a young person who wants to be a composer
or a musician?
Immerse yourself in what you want to do. If you want to write theater, see
as much of it as you can. If you’re a pop writer, then listen to a lot of records.
Immerse yourself in your craft, learn as much about it as you can. There is
nothing like really rehearsing your craft. And write. Write for anyone or anything
you can. Just keep at your craft.
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