It sounds simple, of course, but personally I can think of no more
nerve-racking, no more mentally arduous task than making
music. There are times when a phrase of music will cost many
hours of internal sweating. Rhythms romp through one's brain,
but they're not easy to capture and keep; the chief difficulty is to
avoid reminiscence.

Out of my entire annual output of songs, perhaps two--or at
the most, three--come as a result of inspiration. We can never
rely on inspiration. When we most want it, it does not come.
Therefore the composer does not sit around and wait for an in-
spiration to walk up and introduce itself. What he substitutes for
it is nothing more than talent plus his knowledge. If his endow-
ment is great enough, the song is made to sound as if it were truly
inspired.

Making music is actually little else than a matter of invention
aided and abetted by emotion. In composing we combine what
we know of music with what we feel. I see a piece of music in the
form of a design. With a melody one can take in the whole design
in one look; with a larger composition, like a concerto, it is neces-
sary to take it piece by piece and then construct it so much longer.
No matter what they say about "nothing new under the sun," it
is always possible to invent something original. The song writer
takes an idea and adds his own individuality to it; he uses his
capacity for invention in arranging bars his own way.

Composing at the piano is not a good practice. But I started
that way and it has become a habit. However, it is possible to give
the mind free rein and use the piano only to try what you can hear
mentally. The best method is one which will not permit anything
to hold you down in any way, for it is always easier to think in

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