Quotes of All Topics . Occasions . Authors
I could probably have an idea one day and then go into the studio and really wanna write about just that idea that I have in mind. Or it can vary with just a simple beat and I just do a bunch of melodies on the track that inspire me.
Hip-hop is getting to the point now where they are going to start sounding like Al Jarreau or Bobby McFerrin or some of the other poets. Some of the better rappers can rap real fast without even melodies. It'll get to that same point.
When I come up with a melody in my head, it could be anywhere: in the shower, on the plane, in bed - often when I'm on the go. I'll record it on my phone with my own voice, humming. When I get to the studio, I check which melodies work.
When I listen to my favorite songwriters, they have such simple melodies and chords. I occasionally manage to stop at the right time, but all too often I keep on going until I have way too many notes and words. But that's just what I do.
I usually dream of melodies. When I wake up I have them in my head. I usually come up with things in the middle of the night because that's when my mind is the quietest. I always have my tape recorder, pen and pad by my bed just in case.
I did psychology at university, but I wouldn't say that my music is too influenced by it. The way I make music is a little more to do with an emotional connection. When I compose the melodies for my tracks, it always comes from the heart.
I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.
Pop is a little bit theatrical. That's the whole vibe. That's the point - is that it's great music, great melodies, great hooks. But, on top of it, it's a presentation. There's a showmanship about it. And that's why I wanted to be a pop star.
I think with me and the type of music that I'm trying to make, it's always going be soulful because I grew up listening to different types and variations of soulful melodies and jazz, but experimenting with different types of stylistic souls.
In their plush melodies and plummy platitudes, many Rodgers-and-Hammerstein songs were secular hymns, which so insinuated themselves into the ear of the Eisenhower-era listener that they became the liturgical music for the American mid-century.
Often, with our music, there's quite a lot going on, so people hear melodies that sound up and catchy, and production, and maybe don't really listen to what the songs are about, so it's nice to sing a song like 'The Currents' and really mean it.
People forget how outcast 'They Might Be Giants' can be. They have a reputation for writing really deft, funny, clever melodies, and they also make a lot of music for kids, which is terrific, but when you see them in concert, they can rock the house.
When I wrote the lyrics, melodies, and the first themes of 'Serendipity,' I tried to come up with some rare things you find in life, something very special, like the calico, three-striped cat; things that have extraordinary meanings in people's lives.
It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.
I started classical and operatic lessons when I was 8 and become an operatic singer and went to competition. I write my own music. A lot of the songs, growing up, I was into writing dark stories and poems, and one day I started putting melodies to them.
I definitely have to make sure I have my Jamaican playlist whenever I go, and you've gotta listen to Popcaan. I really love his song 'Silence,' but the whole album, 'Forever,' is good. I love his melodies and flows. He just knows how to make good songs.
There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material, motifs, and melodies.
Depth on different levels is so important to me. You look at a band like The Beatles, all their material has so much depth to it. And I want people to be able to run away with my melodies and get lost in them and take the lyrics and be able to relate to them.
When I hear someone, instantaneously, I'm like, 'Who's singing?' You're giving people so much of yourself, and my voice is the most natural, distinctive tool I have. It's up to me to express myself on a wider scale than just writing vocal melodies and lyrics.
Great music is just very clear. Sonically and lyrically, you understand the point of view, you understand the melodies, you understand the vibe, and you understand the lyric pretty damn quickly. To me, that doesn't make it 'less than' - it makes it 'more than.'
Springsteen's 'Thunder Road' and Carole King's 'It's Too Late' are examples of why I am a singer/songwriter. I practice these songs every day. The melodies are timeless in the rock world, the lyrics are words that I need to say, and they need to be heard again.
I realized that, for me, great records always moved me with the lyrics and the melodies. And so I said, 'I think I can do it now,' 'cause I found a team of people who understand I didn't want a record that was 'drop it, pop it, shake it' just 'cause I can dance.
I always have melodies flowing in my head - whether I'm just at home, at the mall, at a restaurant or wherever. I'm always humming along to the random melodies that form in my head. My friends always ask me, 'What are you singing?' and I'll be like, 'I don't know!'
I didn't start writing music until I was a sophomore in college. I would steal my roommate's guitar and sit on the front porch and kind of blend this weird spoken word and these little melodies over simple chords; that really started my whole journey as a musician.
As soon as I started writing the first batch, I had a vision. I saw me on stage playing a certain type of music. I want to take these blues melodies over aggressive guitars. I heard the sound I wanted to make. I knew what I wanted to do. It wasn't ever there before.
I usually sing a lot on my mixtapes. I sing a lot on songs that just really aren't singles. Even my first single, 'My Last,' which I feel like is more pop than anything - I was originally singing the chorus on there. I'm used to that. I've always had fresh melodies.
I have always had problems with my voice, and the piano helped me believe the song could be bigger than my voice, and I could play with new melodies and things that I couldn't on guitar. It was easier to make the sound fuller and easier to get away with not being as good.
I always wrote everything - I wrote all the lyrics, I wrote all the melodies, everything; it's just somebody else sung it. And to me, the singer is nothing else than a different... like a bass player or a keyboard player - they're not more important than any other musician.
On its fifth full-length album, 'Cervantine,' A Hawk and a Hacksaw's love of the Balkans continues unabated, but with new songs and collaborators. In 'Uskudar,' the music finds an equal balance of sweet, sour and earthy sounds with nimble string melodies and a grunting tuba.
Same with anyone who's been flying for years and loves it still... we're part of a world we deeply love. Just as musicians feel about scores and melodies, dancers about the steps and flow of music, so we're one with the principle of flight, the magic of being aloft in the wind!
I loved Debussy, Stravinsky, Chopin, Tchaikovsky, anything with romantic melodies, especially the nocturnes. Nietzsche was a hero, especially with 'Thus Spoke Zarathustra.' He gets a bad rap; he's very misunderstood. He's a maker of individuals, and he was a teacher of teachers.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
When I found somebody who I fell in love with, it made me feel different than I felt the rest of the day. It was electrifying. That's what inspired the 'Off to the Races' melodies. That's one of the times when you're feeling electrified by someone else and they make you happy to be alive.
When you sample something, you're using the crutch of borrowing chords and melodies from a song that's already great, that's already stood the test of time, that's already special. When you're trying to do it all from scratch, you're writing something brand new that has to stand on its own.
You have the ability to write melodies and to put lyrics that mean something: to speak about life and what people are going through in their every day ups and downs, the good times and the bad times. Country music has always talked about life, I think; that's what I've always loved about it.
When writing music for the 'Kaddish,' I evoked the prayers that were sung in Eastern Galicia, Ukraine and Romania. I was advised by my late friend, Boris Carmeli... He would sing me various melodies that were sung by his grandfather, thus they had to be at least as old as the mid-19th century.
The albums 'Heaven On Earth' and 'Runaway Horses' and 'Live Your Life Be Free' were harking back to when I was a young girl and listening to Californian radio - lush productions, complicated melodies, harmonies like the Beach Boys and the Mamas and Papas. That's what those albums remind me of.
For every album we worked on, I brought in reels of tape of somewhere between fourteen and eighteen songs - some of them completed, with lyrics and melodies, some of them basic tracks. Things came out of those products. Like, for 'Hotel California', I think I had a reel with sixteen songs on it.
The '60s was a magical time in the music business. So much creativity and talent. I think a lot of it came from the fact that we had grown up before rock n' roll. We listened to all the great songwriters and big bands, songs with great lyrics and melodies. I think that really influenced everybody.
I have a lot of my mother in me, but I was just born with the same parts as my father. I don't sound like him. I mean, I can do an impression of him right now, and I do not sound like him. I sound like me. My sense of rhythm I learned from my mother. My melodies, I think sometimes, I get from my mother.
My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.
Every time I sit down in front of my piano, I like to improvise with the instrument. It depends on my mood of that day what kind of melodies and rhythms I am playing around. Sometimes, even before starting to play I already have a quite clear picture of a song I would like to compose, or at least the sound of it.
Listening to all these different musical genres from all over the world and listening to my father's record collection, the Irish folk influences from home. Of course they're all in there somewhere hiding within the lyrics and melodies. But rap music was the biggest influence on my way of writing and my performing.
I write for myself; I'm trying to keep myself interested in the music. But at the same time, I want to make the songs relatable in a way; I want to keep melodies pretty simple and the lyrics open-ended so that people could maybe relate them to their own life in different ways. Something for everybody to have a piece of.
At times I have a beat first and then I write. Sometimes I have a melody in my head and I pick up the guitar to develop the song. Other times I just write without any melodies, and I end up using those lyrics when I think I have the appropriate instrumental that would bring out and depict the emotions of what I have written.
From the beginning, I've always had a knack for catchy melodies. But I went through a period when I was trying to be rock n' roll and have a rock n' roll attitude. I was fighting my nature by trying to play really hard and sing really hard. But at a certain point, I realized that I loved syrupy pop music with tons of harmony.
I was a huge pop music fan as a kid, but the bands I was into were like 5ive and N-Sync. It was like watching a cartoon. There was so much going on, and the production was so well mixed. Stevie Wonder was able to give you those melodies and production but back it up with such creative integrity and real musicianship and artistry.
When I was younger, I had conversations with friends about wanting to create something different. Every young musician probably thinks that. But it's difficult to do, because there are only so many words, notes, melodies, songs. But as soon as I stopped thinking and started feeling, it worked. I didn't realize it till I was done.
I just wanted to make melodies. I started trying to do my own thing and let the melodies make the genre themselves.
It started off with me being all the way influenced by Atlanta and southern music but I knew my sound had to grow - I started learning melodies.