A Quote by Andrew Bird

I don't write poetry and then strum some chords and then fit the words on top of the chords. — © Andrew Bird
I don't write poetry and then strum some chords and then fit the words on top of the chords.
I just started off on my own by learning the regular chords then the barre chords. Then I'd lean the notes that would go with them.
I was 16 when I came to New York. I had graduated to a tenor banjo in the school jazz band, and it was kind of boring - just chords, chords, chords. Then my father took me to a mountain music and dance festival in Asheville, North Carolina, and there I saw relatively uneducated people playing great music by ear.
My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
When I was first learning songs, I'd have a favorite song, and I'd take the chords and twist them around. I'd learn the chords and then play them backward. That was my first experimenting with writing a song.
The music has gotten thick. Guys give me tunes and they're full of chords. I can't play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them.
One chord is fine. Two chords are pushing it. Three chords and you're into jazz.
I was teaching myself notes from three and then by seven I'd figured out how to play some chords, and at school I used to love writing poems and poetry, so I guess I kind of put two and two together and that formed my songwriting from an early age.
I've been used for writing rhythm guitar chords for a long time because it's so easy to play and chords just sound good on it.
I'm not very good at playing piano, so I usually hit chords with my right hand. And those chords came, and I was just singing a little bit.
When I was 12 or 13, my dad taught me a couple of different chords, and once I learned chords, I never learned to read music, but I learned tablature, like a lot of kids do, and I learned songs that had the chords I knew. It took me a long time to understand the upstroke of picking and strumming, but once I did, it all fell into place.
Usually when I write a song, I'll write the music and then kind of fit some words to it.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
I'm no good with chords. I'm horrible with chords.
I spent many years trying to write a lot like Ben Folds or John Lennon or Rivers Cuomo. I think that's healthy when you're learning to write and seeing how chords fit together and how songs take shape.
I don't think I think when I play. I have a photographic memory for chords, and when I'm playing, the right chords appear in my mind like photographs long before I get to them.
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