ROB KAPILOW:
Sometimes, the words themselves aren't nearly as beautiful or as meaningful as the notes behind them.
So, he starts off, even a simple chord. Anyone else would have begun like this, for "I'm," a very straightforward chord. But he adds one extra note, and that's what gives it all the warmth and all the yearning, not this, but this.
"It's almost like fog on the window as you're looking out at those snowflakes." So, even the first chord already has a different warmth. "I'm." Now, anyone else would have written "dreaming of a." But each chord has one different chord that makes it so emotion-filled, "dreaming." And then listen to this wonderful dissonant one.
It's almost like fog on the window as you're looking out at those snowflakes. That's just two measures of music. The words are just "I'm dreaming," but the music is what tells us what that dreaming feels like.
Great composers don't set words to music. They set the emotion behind the words. So, we're now dreaming of this white Christmas. Anyone else would have written this for white Christmas. That would have been fine. But instead, he writes all that yearning.
Now, we have started with long note, fast notes, long note, fast notes. Anyone else would have done another long note, "just like the ones I know." But, instead, he pushes higher to the highest note of the entire song. All this yearning.
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