Melodies Quotes

I think my melodies are superior to my lyrics.

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

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.

In English, the sounds and melodies I created were an inspiration to me, and words came to me as I explored the sounds, and from there I was able expand on the meaning.

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.

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

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

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.

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.

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

There, in the chords and melodies, is everything I want to say. The words just jolly it along. It's always been my way of expressing what for me is inexpressible by any other means.

Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.

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.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

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.

Heard melodies are sweet, but those unheard are sweeter.

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 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'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.

The world is full of poetry. The air is living with its spirit; and the waves dance to the music of its melodies, and sparkle in its brightness.

I have a very strange melodic gift: melodies come to me effortlessly.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

Being a purely instrumental album, it makes a musical statement, not a religious one, and I hope that people can feel the emotion of the great melodies, even without the words.

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

I like to hear melodies that go from one extreme to the next- saxophone to a bell to a whistle, for instance.

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.

I used to help Viv with the chords and melodies sometimes.

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

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.

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.