Paul Simon on Creativity and Songwriting | The Subconscious Mind and Unconscious Contributions to Creativity

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A while back, I had mentioned to you all that I feel that I sometimes write from the subconscious, and that I am not alone in that evaluation of my creative output. I went on to list a few artist names where I have heard or read them saying such in their own words.

And in all fairness, it is easy to say just about anything on this planet:

- I look great in this underwear.

- I'm a nice guy.

- I know what I am talking about

- I know what I am doing when I song write.

You name it. We as human beings can say anything: so it is important to cite our sources from time to time. So, as shown above: straight from the horse's mouth:

Paul Simon on Subconscious Writing: 29:44

Additionally, it is a different thing altogether though to be a student: and to not just be a student, but to realize that we are never a master. We are always the student. We have much to learn: always.

I have much to learn about songwriting, so I do research and I study. I have for years. I continue to.

I am a student. I love to learn.

We should treat each other as someone worth listening to—because I can guarantee you: no matter the individual, if you remain open, you will learn something from them: profound to the mundane.

I have a friend who's wife tells him that he is a shark.

What she means by that is, he must keep moving so that water flows through his creative gills, so that he may breath and stay alive. I understand what she means.

I too must constantly be moving, whether it is intellectually, creatively, physically, or any other type of movement you can think of, whether in the abstract sense or in the real real true true.

In one of the more poignant spots in this interview that took place in 1986, Mr. Simon talks about marketing—and how musicians primarily should be busy making music. It is unfortunate that in 2021, the trend of musicians is very much tilted towards marketing themselves. While there is nothing wrong with marketing per se, there is when it is 80% marketing and 20% self-reflection, creating, study, craft, practice, history, reading, poetry, listening, and so forth. We as artists must be mindful of this. If we do not remain mindful, we become out of balance—perhaps with ratios just described—but in other matters as well—some of which are far more detrimental, or any number of degrees proceeding such.

FOR SONGWRITERS, A FEW (but not exclusive) USEFUL TIMESTAMPS:

- 22:00 - Technique

- 22:38 - Interests and Technique

- 26:45 - 12 Notes of the Chromatic Scale

- 27:45 - Instruments and their Importance in Creativity

- 28:00 - Rhythmic Writing vs. Melodic Writing

- 29:44 - Subconscious Writing

Another book that I own that has been invaluable to me is "Songwriters on Songwriting" by Paul Zollo.

This whole interview is a blessing to watch, as is that book just mentioned. We learn from the kindness of those who share.

Lots of love y'all!

I'm heading to the store to pick up some gardening supplies.

- Mike

WHO IS MIKE VITALE?

I am a storyteller, singer, songwriter, music producer, traveling musician, Jungian dream analyst, all-around curious fellow (Spiritual, Mathematical Historical, Scientific), Taoist, and much much more, based out of Los Angeles, California. I’m constantly releasing new music, in all sorts of different genres. You can listen to me below, on Spotify:

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UPCOMING SHOWS

"Satin Doll" | Arrangement by Joe Pass

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Boy oh boy. Am I a horrendous jazz musician. I’ve been trying to chip away at improving this deficiency over the past 10 years or so, but to be completely honest, I haven’t made much headway—and that’s okay: it’s just for the fun of it. It’s a hobby. Most of what I’ve been doing is trying to treat music as a language, and learning some of the lexicon of jazz musicians that I admire. This is the A Section of Satin Doll as arranged by Joe Pass. There is so much to playing jazz, and these are some small baby steps I’ve made.

Thank you to everyone on Patreon for your encouragement and support: https://www.patreon.com/mikevitalemusic


If I Only Had a Brain - Harry Connick Jr., Harold Arlen, Yip Harburg

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I just got done taking a master class from a young Harry Connick Jr.. I’ve been working on transcribing his version of “If I Only Had a Brain” from the album 20. In my own humble opinion, it’s a masterpiece, and I cried the first time I accidentally listened to it. I was so moved by its grace, that I knew I needed to learn it and sing it.

It’s a beautiful piece of music to begin with, but Connick’s use of chord substitution is pretty cool and sophisticated—he also creates some beautiful tension in his chord voicings, using many terse intervals such as m2 and M2 in his chord inversions, which are my favorite. Lots of suspensions. I learned a lot. I learned too much. Still trying to absorb the information. Bottom line, it just sounds boss (in a very touching and emotional manner), despite all the bullshit jargon I just prattled off: that’s what I’m after. That’s what I got.

I did my own thing with it and deviated from his arrangement as I saw fit.

I recorded the vocals using an AT4033 and SM57 on the guitar amp. If you dig it, please like the video and subscribe to my Youtube Channel. The support is invaluable and deeply appreciated.

The song was also recently added to streaming services:

https://distrokid.com/hyperfollow/mikevitale/if-i-only-had-a-brain

Most importantly, thank you to everyone on Patreon for helping me to make these videos