Zitat des Tages über Harmonien / Harmonies:
Harmonies are nice.
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.
I was in a choir as a kid. It was from those early days that my outlook on harmonies and arrangements were nurtured. I always took that with me, even on the earliest Bad Religion record, which strangely was only about six years after that.
I always laugh when I listen to my old stuff. I was just trying way too much back then. Doing too many harmonies and too many runs and all the crazy stuff. Rapping all funny and animated.
I suppose because I have a good ear, I could pick out harmonies and learn by ear. I still think that you have to have an ear for music to really be able to feel and understand what you're playing. You can learn by watching and listening to other people.
We've recorded over our voices once and double the harmonies, make them thick. The Four Freshmen do that.
The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.
I was in a church choir early on and that really helped me musically in terms of chops, learning how to sing harmonies.
I pay such close attention of the record making process that most people would assume are very little and wouldn't be that big of a deal; the packaging, the title, and the harmonies, I think, are arguably as important as the lead vocals.
Living here on Earth, we breathe the rhythms of a universe that extends infinitely above us. When resonant harmonies arise between this vast outer cosmos and the inner human cosmos, poetry is born.
When we were first started we were doing a lot of Motown stuff, but actually playing it more in a rock way. Everybody in the band sang and we did a lot of harmonies.
I sing both in my shower and in my car, mostly in my car, because I have this weird thing - whenever I'm singing to the radio - my friends kind of hate it - but I pick out the harmonies in my head, and I'm singing the harmonies to the tracks and I'm jamming it out.
Harmonies come really naturally to me. I don't have to labor too hard over them. I'll sing a lead vocal, and then I will immediately have all of these other ideas for vocal harmonies. I think that some of the most fun parts of recording, for me, are the vocal harmonies.
I think Alison Krauss is one of the most amazing singers ever. As a songwriter - this is gonna sound cheesy - I love Randy Newman. And my mom passed on a love of Bob Dylan and Joni Mitchell. At one point I was so into the Indigo Girls, just like I was so into the Dixie Chicks, those female harmonies.
The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.
There's music to dance to and make love to, music to cry to. I'm starting from scratch, coming fresh. But my sound still embodies the same soulful, intricate harmonies.
I like to be surrounded by harmonies and fullness and richness and vitality.
I don't dictate the solos and I don't dictate the vocal harmonies.
Because I don't play guitar any more, African harmonies and rhythms have been an inspiration to me. I love the raw origin of the sound. It complements my voice and words naturally.
I used to think of George Michael as being mechanical, like a scientist in a white coat, working in a laboratory, creating perfect harmonies, and all the while I was secretly admiring him.
I was sitting on my mom's lap across from my father to see Kay Thompson at Ciro's. And I always remember this energy force, this woman flying around the room and singing these harmonies so everyone went, 'Wow!' So I thought, 'That's what I want to do.'
I love a band that has a banjo, that does group harmonies and yells out the word 'Hey' or 'Woo.' I live for it.
My drummer, bass player, and guitar player sing backgrounds. They play and sing. I can sing all the harmonies, but I can't do it alone.
I tend to like the traditional sound: three-part harmonies, guitar, and piano. I mean, a well-played guitar is a joy forever... or something.
I've always thought it was easier for girls to sing harmonies because their voices can go to that higher plane so much more easy than a male voice.
Not many people know this, but when Yes first started doing club dates back in 1968, '69, we did a few tracks from 'The Magic Garden' album in our set. We just loved the harmonies that the 5th Dimension had as well.
Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.
I did write more mainstream stuff with DK. But you could always tell the records that I wrote in contrast with everybody else's because the format was a bit different. The harmonies were used in a different type of way. Way more metaphors in the mix.
I do some three-part harmonies on 'Throes of Rejection' and 'Hard Lines, Sunken Cheeks,' but I didn't go overboard with it.
When I had my first experiences of choral singing, the dissonance of those close harmonies was so exquisite that I would giggle or I would tear up, and I felt it in a physical way.
I have an understanding of Queen and the way Freddie Mercury did his harmonies. I know what tablas sound like, because my father played a lot of Ustad Ali Akbar Khan.
My brother Carl taught me how to play bass. I'm a self-taught keyboard player, though - I figured out our harmonies at the piano.
Music from my fourth year began to be the first of my youthful occupations. Thus early acquainted with the gracious muse who tuned my soul to pure harmonies, I became fond of her, and, as it often seemed to me, she of me.