Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear... Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.

There was always some kind of strain, but it was workable. The bigger you get, the more of a strain it is, because in your everyday life, you're less used to c…

I didn't want to repeat the same notes in the second verse that I used in the first, so I wrote out all the notes of the song and all the notes that were missi…

I wanted to sing other types of songs that Simon and Garfunkel wouldn't do. 'Mother and Child Reunion' for example, is not a song that you would have normally …

With Moondance, I wrote the melody first. I played the melody on a soprano sax and I knew I had a song so I wrote lyrics to go with the melody. That's the way …

Solos I kind of [couldn't] care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cor…

'If...Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the ma…