J. Walter Hawkes is the talented composer behind the catchy and educational tunes of the beloved children’s show, Peg + Cat. But how does one become a composer for television, especially for shows that capture the hearts of preschoolers and parents alike? Hawkes shares his journey, inspirations, and the magic behind creating music for television in this insightful interview.
From Trombone in NYC to TV Scores: A Serendipitous Start
Hawkes’ path to composing for television wasn’t a straight line, but rather a winding road paved with musical passion and a bit of good fortune. Initially moving to the bustling music scene of New York City with his trombone in tow, Hawkes immersed himself in the city’s vibrant musical landscape. “I moved to New York City to be a trombone player, and was playing with a different band every night,” he recalls. To supplement his income and hone his craft, he also arranged music for various ensembles, from horn sections to big bands. An invaluable experience scoring preparation for the prestigious Carnegie Hall Jazz Band further enriched his musical toolkit.
His entry into television composing was as unexpected as it was organic. “One of the first bands I started playing with in the city was a jump blues band that happened to have two members that were working on a new animated show for preschoolers.” This stroke of luck led to him playing trombone for the show. That show, as many might know, was the iconic “Blue’s Clues.” As “Blue’s Clues” gained popularity, Hawkes’ role expanded beyond just playing. “Eventually they needed help in the composing department. I learned the ropes of television composition on the job, thanks to them.” This on-the-job learning experience proved to be the perfect training ground for his future success, including his work on “Peg + Cat.”
Mister Rogers and Musical Inspiration for Preschoolers
When asked about his favorite childhood television shows, Hawkes lists a few classics: “Captain Kangaroo,” “Sesame Street,” “The Electric Company,” and “Mister Rogers’ Neighborhood.” However, it was “Mister Rogers’ Neighborhood” that profoundly influenced his approach to composing music for young audiences, including his work on “Peg + Cat”.
He fondly remembers jazz pianist Johnny Costa’s sophisticated improvisations during the credits of “Mister Rogers’ Neighborhood.” “I remember hearing Johnny Costa’s extremely advanced piano improvisations when the credits would roll. Costa took it to Mars and back!” Costa’s music, though complex, resonated with young Hawkes. “I could tell he was playing advanced music, and it didn’t scare me at all. I believe it helped me grow. It made me think there must be so much more out there that I don’t know.” This early exposure to sophisticated music instilled in him the belief that children are receptive to a wide spectrum of musical styles and complexities, a principle he carries into his compositions for “Peg + Cat.” He believes that “any kind of music—be it consonant or dissonant, simple or complex, happy or sad, exciting or soothing—can be wonderful for children.”
Crafting the Tunes for Peg + Cat: Lyrics First
The songwriting process for “Peg + Cat” is a collaborative effort, driven by the show’s narrative and the lyrical prowess of its writers. Unlike his experience with “Blue’s Clues,” where composers wrote both lyrics and music, “Peg + Cat” has a different approach. “At Peg + Cat, the show’s writers (and especially [co-creator] Billy Aronson) are gifted lyricists themselves. The lyrics drive the song.”
The lyrics serve as the foundation upon which the musical composition is built. “From the lyrics, decisions on feel, style, tempo, and melody can be made.” Hawkes then embarks on the initial musical creation process, often using his own voice and instruments. “I record myself singing the song with an accompaniment of instruments I play and virtual ones from the computer.”
This demo version is then presented to the show’s producers, Jennifer Oxley and Billy Aronson. Positive feedback is crucial. “After the producers (Jennifer [Oxley] and Billy) hear the song and tell me they love it (!), we bring in the voice talent to replace my voice and musicians to replace the temporary computer sounds.” This collaborative and iterative process ensures that the music perfectly complements the story and enhances the viewing experience for young “Peg + Cat” fans.
“One Hundred is One Zero Zero”: A Personal Favorite from Peg + Cat
With a vast catalog of songs from “Peg + Cat,” choosing a favorite is a challenge. Hawkes admits, “We’ve done so many songs! There are two to four (sometimes more) songs per episode!” However, one song holds a special place: “One Hundred is One Zero Zero.”
This particular song is memorable for him, partly because of its early origins in the show’s run. “I’ve always had a crush on “One Hundred is One Zero Zero,” and I think it’s partially because it was from one of the very first episodes… and those were such fun times.” Musically, the song is unique and draws inspiration from unexpected sources. “The song itself has a rhythmic feel, kind of like Weather Report’s “Birdland,” which isn’t something you hear a lot.” Hawkes’ personal touch is also evident in the instrumentation. “I played my specially modified vintage Wurlitzer electric piano on it. I even played the solo!” He also cites singer-songwriter Richard Julian and the classic “Schoolhouse Rock” as influences, aiming for a similar educational and catchy vibe. “The whole thing, to me, comes across like an old Schoolhouse Rock song. Mission accomplished!”
From Screen to Stage: Peg + Cat Live!
Taking “Peg + Cat” from the screen to the stage presented a different musical landscape. Typically, adapting television music for live performance requires significant adjustments for a live band. However, “Peg + Cat Live!” took a different approach.
“Usually, one would have to modify the music and do a lot of score preparation so that it could be played by a specific live band. With Peg + Cat Live!, there is no live band. The music was pulled directly from the episodes, so there wasn’t much for me to do.” The stage show utilized the original music directly from the episodes, simplifying Hawkes’ role in the live production.
Beyond Peg + Cat: Jazz, Ukulele, and Musical Play
While deeply involved in creating music for “Peg + Cat,” Hawkes’ musical passions extend far beyond children’s television. For him, work and play often intertwine. “Work is play when I’m on the bandstand.” His musical interests are diverse and encompass various genres. “I play mostly jazz or jazz-inspired music on the trombone, as well as in theater productions, rock bands, salsa bands, klezmer bands, ambient bands, etc. etc.”
The ukulele also holds a special place in his musical life, offering a personal connection to his family. “I also play a lot of ukulele. My grandfather played the ukulele, so it’s a link to my family. I enjoy playing it and singing along; it’s a really fun instrument.” Interestingly, he even incorporates the ukulele into his professional work, including “Peg + Cat.” “I played all the ukulele on Peg + Cat.” He humorously notes the contrasting demand for his trombone and ukulele skills: “people pay me to play the trombone, and pay me to stop playing the ukulele.”
J. Walter Hawkes’ journey as a composer showcases a blend of talent, hard work, and serendipity. His insights into creating music for “Peg + Cat” offer a glimpse into the thoughtful and creative process behind the show’s captivating sound.
