Melodies Quotes

Working with (new collaborators) and letting people in to try new melodies and new lyrical ideas was very hard.

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.

It's a privilege to serve the poor, to be servants of noble Africans, but I better belong in the rehearsal room or in the studio with my band. That's where I want to be and I still wake up in the morning with melodies in my head.

Singing beautiful melodies is one thing, but to deliver the text so that the people understand it, even in a foreign language, has to be worked at very hard.

With Schubert, a lot of the melodies are very simple, but he's in this groove. He's in touch with his heart.

So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.

I like to come up with the melodies, and I have a lot of ideas as far as structure goes.

Well, what I love about '80s rock music is the amazing, fantastic melodies.

I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level.

Brazilian music has many of the ingredients that I strive for in my own music: Strong melodies and a disciplined but intense rhythmic concept, and interesting harmonies.

But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.

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.

So much of my career has been about saying things the way people say them, using melodies not that I can sing but that the people can sing.

I am moved more by melodies, song structure, and evocative textures.

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.

Some things remain fragments, just the lyrics and melodies or a line or two or a verse.

I have written most of my melodies walking and I feel it is definitely one of the most helpful ways of sewing all of the different things in your life together and seeing the whole picture.

For me, the most difficult thing is that I am learning melodies on guitar from some songs whose melodies were not meant to be played on guitar. Ever. They were intended mostly for keyboards or melodic percussion.

Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.

A song that sounds simple is just not that easy to write. One of the objectives of this record was to try and write melodies that continue to resonate.

You don't have to know anything about music to understand what I write. Mine are simple melodies.

I was growing up listening to Queen. Freddie Mercury threw those incredible melodies into his songs.

In country music the lyric is important and the melodies get a little more complex all the time, and you hear marvelous new singers who are interested in writing and interpreting a lyric and in all form of popular music.

The more melodies and chord changes, the less good it is for the clubs, but the better it is for radio, because it makes it really emotional.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

I wasn't writing the music. Ed would write a piece of music. I'd listen to it and come up with a melody and then we would arrange it. We'd put it together and I would write lyrics to my melodies.

So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.

I think my melodies are superior to my lyrics.

There are only so many notes so there must be only so many melodies.

When you are accompanying someone, you are listening to them the way you listen to a Bach Chorale, where four parts are going on at the same time, all of which are gorgeous melodies, all being played simultaneously.