In the first of our new series – The Story of the Song – George Pjevach guides us through his songwriting process for ParaSail. He takes us through the vivid imagery which led to the song’s creation and how he used this to influence the composition.

My wife and I were enjoying a day on the beach at Fort Island in Florida. As we were laying on the off-white sand, I saw a boat getting ready to pull a parasailer up into the sky.

The stage was set perfectly for a song.

There was a beautiful blue sky, a hot sun, and hundreds of people splashing in the water and having fun on the beach.

I watched the slow and methodical set up of the captain and his first mate while the parasailer prepared for flight. This is reflected in the introduction of the song; a slow and anticipatory beginning.

Due to the beach and the subtropical setting, the song needed a light, airy, happy melody and feel – yes, a Bossa Nova. The setting was happy, so the song required a major key with major sixth chords to add a little Hawaiian flavor.

I watched the boat give it the gas, pulling the parasailer behind. Then, the parasailer started to leave the water, and soon she was soaring high in the sky.

I put myself in her place looking down at the ocean, the waves and all the people on the beach. 

I pictured her flying along, feeling on top of the world while looking down at the Earth not far below. What a free feeling it must have been! This is reflected in the melody – light and happy, with small chromatic fills here and there to reflect little gusts of wind pulling her slightly up or down unexpectedly, a little tension.

As I watched her fly, I was thinking of the melody. Light and carefree, with the wind in her face, it almost looked like she could touch the clouds.. up then down, up then down.

At one point, she hit a gust of wind that forced her and the parasail down toward the water quickly. It was a little scary to watch, and your mind always goes to the worst places, but before hitting the water she caught her balance and was soon soaring up in the sky again. This is the part of the song where you hear quick, 32nd notes in a descending chromatic fashion to create the stress of her falling toward the ground.

As the melody returns to a verse, she’s back up in the air, soaring and happy again.

The saxophone was added to include my good friend and longtime musician partner, Dale Sayotovich.

I decided to play the second guitar instrumental improvisation using a combination of single lines and chords, with slides and trills to further drive home the feeling of happiness and relaxation.

The end of the song almost feels like I’m putting the brakes on – and I am. As she comes down from her flight, it almost looks like slow motion and she is set gently into the water.

I wrote the melody, rhythm guitar and bass lines to be played specifically as written.

The saxophone and the second guitar solo were improvised.

I was blessed to have wonderful musicians play on my song. Jason Rosner on bass guitar; Barry James on drums. Barry is a wonderful traditional jazz player and it was a pleasure to work with him. Vernon Suber added a beautiful feel to the song, playing congas with an African flavor.