Ex -Beatle Paul McCartney opened about his composition techniques in his book, The Lletres: 1956 in the present, revealing that he uses a certain “missing trick”
Icon of music Paul McCartney He has been writing songs for almost 70 years, during which he has written some of the biggest hits, both inside and out of The Beatles.
Therefore being one of the most famous composers of all time, the 83 -year -oldHe is obliged to have a few tricks on his sleeve. McCartney has often opened their composition techniquesBut he offered an intriguing detail to his book, The Lyrics: 1956 to the present. Sometimes he does not write songs like Paul McCartney.
He calls it a “missing trick”, which sees him essentially pretending to be other artists, making the pressure effectively while keeping fresh things.
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In the lyrics: 1956 to the present day, McCartney wrote that he often does a “missing piece” when he wrote a song. For example, imagine the melody that has been recorded by another artist. In the case of the Beatles’ long and winding road, he thought of the legend Ray Charles.
Sometimes McCartney does not want to write songs like the famous Paul McCartney. So he imagines that he is another person who writes a melody. “This is a strategy to keep things cool,” he wrote.
The father of the five years has pretended to be many artists over the years. In the first days of the Beatles, he often intended to be a friend Holly.
Then he and the band began writing songs that sounded as if they had left Motown. In the mid -1960’s, after Beatlemania, he and the group pretended to be Bob Dylan.
When McCartney needed a “small voice” or wanted to invoke old Hollywood vibrations, he pretended to be Fred Astaire and other grains of this time in songs like here, there, everywhere and on honey cake.
“There is always someone you can invoke,” he wrote. “You can put a mask and a mantle as you write something, and it takes a lot of anxiety. It releases you. Discover you get that it was not a song by Ray Charles anyway; it was yours.”
McCartney added that sometimes a song takes its own character and takes you on a road somewhere you never expect. Apart from using his missing little trick, McCartney also uses some tested and true methods to make his songs.
Talking about his process of song composition at NPR In 2016, McCartney said: “If I had to sit and write a song, I would now use my usual method: either I would sit with a guitar or piano, and only look for melodies, forms of agreement, musical phrases, some words, a thought just to start.
“And then I just sit with him to work -as if I write an essay or make a puzzle of crossed words. This is the system I have always used, that John [Lennon] And I started. I really have never found a better system and this system only touches the guitar and seeks something that suggests a melody and maybe some words if you are lucky.
“Then I just go around and I try to follow the path, try to go to where I go. And sometimes I drive on a blind alley, so I have to go back my steps and start again on another road.”
McCartney added that it is “from the instinctive school”. He once worked with Allen Ginsberg, who always said, “First thought, better thought.”
“And then he would edit everything,” the icon said. “But I think the theory is good.” First thought, better thought. “It does not always work, but as a general idea I will try to do it and sometimes I go out with a set of puzzling words that I have no idea what I mean, and that, however, I have to give it sense and follow the path.”
Despite some of the greatest hits of rock, McCartney never feels confident as a composer. The singer admitted that there is no sense where you only think: “OK, now I can do it, I just sit and do it.” He says he is a “little more fluid than this.”
McCartney continued: “You talk to people who make albums or albums and always enter the studio thinking,” Oh, well I know! I have a lot of things, you know, I write. “And then you realize that I do it again, start again from the square.
“You have never succeeded. It is this fluid thing, music. I like it. In fact, I teach a class at the Liverpool Institute High School for Boys, I do a small class of composition with students, and almost always the first thing I will say and say [is]”I don’t know how to do this. You could think yes, but it’s not one of those things you never know how to do. You know I can say: Select the key. Now we will select a rhythm. Now do a melody. Now think about some great words. This is not really the answer.”
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