I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
From the glow of enthusiasm I let the melody escape. I pursue it. Breathless I catch up with it. It flies again, it disappears, it plunges into a chaos of diverse emotions. I catch it again, I seize it, I embrace it with delight... I multiply it by modulations, and at last I triumph in the first theme. There is the whole symphony.
Men have a lot less to write about, unless you're somebody like Tom Waits or John Lennon. And the female voice is much more suited to melody. Men have this barky thing - we're domesticated apes with a microphone.
Some things remain fragments, just the lyrics and melodies or a line or two or a verse.
If you can say the lyrics almost like a poem and they stand up, that's a great thing. Some songs have great lyrics and I don't like the melodies, and vice versa.
I've actually had a melody on my guitar since the day I learned how to play it, back when I was 7. And for some reason I can't add lyrics to it.
I really tried to go for that sound of the '60s pop melodies but I'm living in the present so that makes it contemporary. I like to pretend I'm outside of myself and that is what the recordings and the process helped me to do.
It's no use telling us that something was 'mysterious' or 'loathsome' or 'awe-inspiring' or 'voluptuous.' By direct description, by metaphor and simile, by secretly evoking powerful associations, by offering the right stimuli to our nerves (in the right degree and the right order), and by the very beat and vowel-melody and length and brevity of your sentences, you must bring it about that we, we readers, not you, exclaim, 'how mysterious!' or 'loathsome' or whatever it is. Let me taste for myself, and you'll have no need to tell me how I should react.
Lyrics are what I tend to tear hair out over and they're where I tend to feel weak musically, if I'm being very honest. It is not something I feel like I know anything about; I would not consider myself a writer. I just want to sing, I just want to sing a melody, I just want to feel a melody, and be part of the song, and everything else is not so important.
I can't even speak Hawaiian, but if you go there and listen to a Hawaiian song, you get captured because it's so beautiful, like the melody is just gorgeous and you know Bob Marley is on the radio every single day. It's very reggae-influenced down there. Basically, you haven't been to paradise if you haven't been to Hawaii.
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.
A good song has to have a great melody, and the lyrics have to touch my heart. Now, if it's just a little toe-tapper, got to make me feel good somehow or another, or when I sing it I can't make you feel good.
I think my melodies are superior to my lyrics.
There are only so many notes so there must be only so many melodies.
The genius of a folk melody or story is not the feeling that it's original but quite the opposite - the feeling that it has existed all along.
Composing gives me a chance to work in multiple dimensions and helps me pare down my melodies into what is essential. Learning new skills has always energized me and scoring has opened up a world of sonic possibilities.
I have come to the conclusion - and I don't know why it took me so long, but nevertheless, I'm here now - that a lot of people tell me they don't get enough guitar on my albums. So I decided to do an album where the guitar would be the singer, playing the melody.
Ever since I was a child I've always been very attracted to melodies. Whether I hear Jeff Beck, a choir, an ocean or the wind, there's always a melody in there.
And they were quiet but their blood and nerves and butterflies were not—they were rampantly alive, rushing and thrumming in a wild and perfect melody, matched note for note.
I had a melody and a rhythm and chords, but nothing to talk about. I remember reading about how the decline of the steel industry had been affecting the Lehigh Valley, and I decided that's what I was going to write the song about.
You are a beautiful mess, you are the melody.
I just write songs that I strongly believe in and that are coming from inside. There's no tricks. It's honesty with big melodies.
I'm not the kind of guy who walks around with a notebook writing lyrics. For me, melody and song structure come first and foremost. Unless the melody gets stuck in my head, I'll move on. Once I have the musical idea pretty firm, I just try to write words that are incredibly honest and relate to my life on that given night. I'll sit with the music on my headphones and pen and paper all night long until it's done.
You always know when a real inspiration is behind the melody, arrangements, even lyrics. And I know that's really vague, but it's true.
I learned so much about music by playing this little, miniature songwriting machine [ukulele], especially about melody. The motto is less strings more melody.
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