I like Stan [Getz], because he has so much patience, the way he plays those melodies - other people can't get nothing out of a song, but he can, which takes a lot of imagination.
I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it's Indian or it's Western. But in India, I think it's limited to filler music unfortunately. That's one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.
My whole career was launched in such sort of poptastic style with 'Kids In America', and I liked - and like - being poptastic. Songs big on melody, high on energy, lots of attitude... what's wrong with that?
I love melodies so it's usually where I start.
I used to play the piano, I was pretty decent, so that was the only thing I could hold onto in terms of coming up with melodies; but at the time I [still] just couldn't, so my early beats were really sample-based.
It's really important to me that my sound is a combination of beats and melody.
I love hearing strong, confident beats in music because I love to dance. At the same time, melody is really important to me because I love singing.
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.
I approach song writing three different ways. One way is where I write the initial melody and lyrics first and then take it in to the producer to collaborate. Another way is where the producer sends me his initial musical track ideas and then I write the lyrics and melody over his track. The third way is where we just jam out in the studio and see what we come up with.
While the business of "collecting" lyrics and melodies happens all the time, when it's time to corral them all into something, I have to be in a good mood, ready and willing to work.
Music really does just boil down to basically, essentially songwriting chords and melodies.
Usually it's lyric first, but sometimes it's melody. And I carry a hand-held recorder everywhere I go so I can just hum or whistle a melody if one hits me. Sometimes it's both simultaneously - lyric and melody at the same time - those are a little confusing to me, but sometimes it comes in that form. I just feel like I have my own little radio station and sometimes the static clears and something beams in from out there.
I really think of my motives, my melodies, my harmonies, as being these things that are very much alive. They have these little lives of their own that are stretched and pulled, and I do conceive of my music in a very narrative way.
I don't really inject the rock 'n' roll thing, what I take from rock 'n' roll is probably the melodies and the musical behind it.
When you do a remix, obviously you get a beautiful melody, you get the beautiful vocals - everything is already set up. You already have a base, which means all I gotta to do is create the music behind, 'cuz it's already beautiful.
The song could start with a riff that I base the song around. Or a chord progression or a melody I have, I just write a story about it. Lyric-wise, it's cool to have someone else's input too.
Where Snah [Hans Magnus Ryan] is a melody and texture man, I am more of a riff, rhythm and concept guy. I am much better than him in certain fields, and he surely wipes the floor with me in others, and we both know it's like that.
No one can threaten poetry. It's always been there, always will be. Humans need it to live: it has sustaining powers. How could we (anyone) get through adolescence without some form of song? Song is only a version of lyric poetry that is carried more by melody than by internal coherence and unity. but lyric and song - they are the same.
I sat down at the piano and my hands began to browse over the keys. Thensomething happened. I felt as though I could reach out and touch God. I foundmyself playing a melody, one I'd never heard or played before, and words came intomy head - they just seemed to fall into place.
'Something More' is a song that I wrote not necessarily about country radio, more so about a lot of songs that were being pitched to me. I wrote that after song after song after song was just the same song, just a different melody, so I was just looking for something more to put on the record.
'Will You Still Love Me Tomorrow,' if you go through the lyrics, is such a haunting melody, and the words are, for a pop song, pretty deep and dark.
And yet I do love a kind of light, melody, fragrance, food, embracement when I love my God; for He is the light, the melody, the fragrance, the food, the embracement of my inner self - there where is a brillance that space cannot contain, a sound that time cannot carry away, a perfume that no breeze disperses, a taste undimisnished by eating, a clinging together that no saiety will sunder. This is what I love when I love my God.
A French friend brought over a load of Gainsbourg vinyl and I worked my way through it: by the time I got to L'Histoire De Melody Nelson (1969) I was thinking, 'How can this man have died before I got to know his music?' I was a convert.
While the accompanimental [sic] figures come from Prelude, the melody is wholly original to this theme. First stated on a lonely duduk, and then in octaves by the violins and violas, it is a melancholy and contemplative tune.
I want to do some different kind of songs, but say I want to do riffs, but I don't come up with any riffs that I really think are great. Then I can't do a riff album. I'm more of a song, melody person.
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