I can't play my songs on the smaller harp. I have a Celtic harp. I can't do the key changes.
Ever since 'Hail to the King,' we've been more cognizant of our chord progressions, our key changes, drama in songs, a lot of dynamics - we've really added a lot of that in there.
The songwriting of Hall & Oates is deceptively complex. There are a number of key changes that pass you by as you're listening to the song because they're so seamless and clever.
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
I use some pretty radical harmonics at the beginning of 'Heresy.'
I had to learn right away how to improvise behind Ornette, which not only meant following him from one key to another and recognizing the different keys, but modulating in a way that the keys flowed in and out of each other, and the new harmonies sounded right.
The instrumental stuff is a good challenge, and it keeps my fingers athletically tuned, but I'm totally happy to bang away on some chords, sing some harmonies and play some wailing blues solos after the second chorus.
What I do is unusual: chordal movements that have never been used before, changing keys and modalities mid-song.
