Zitat des Tages über Melodien / Melodies:
I like to try to keep my music happy because it can make other people happy. And that's the way I feel when I listen to Avicii's songs. I get happy because his melodies are so happy.
I usually sing a lot on my mixtapes. I sing a lot on songs that just really aren't singles. Even my first single, 'My Last,' which I feel like is more pop than anything - I was originally singing the chorus on there. I'm used to that. I've always had fresh melodies.
People live their lives through melodies. If you can't sing, then music is worthless.
Well, what I love about '80s rock music is the amazing, fantastic melodies.
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.
A lot of people think that because I'm from Malaysia, I'm driven by Malaysian sound, but actually, it's mostly just my 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.
I think my melodies are superior to my lyrics.
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.
I am moved more by melodies, song structure, and evocative textures.
I love the melodies in the Old Testament, how preachers highlight them when they read from the Scripture. But I was influenced forever by the New Testament. I love the Beatitudes, informing us that the meek shall inherit the earth.
I like to come up with the melodies, and I have a lot of ideas as far as structure goes.
I like to hear melodies that go from one extreme to the next- saxophone to a bell to a whistle, for instance.
Drake is a lyrical genius, and he's great with melodies, and Pharrell is an amazing producer and songwriter.
I think country has the biggest melodies ever.
There are only so many notes so there must be only so many melodies.
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.
I'm a songwriter. I need silence to hear the melodies, so I don't fill the days with a lot of sound.
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
At times I have a beat first and then I write. Sometimes I have a melody in my head and I pick up the guitar to develop the song. Other times I just write without any melodies, and I end up using those lyrics when I think I have the appropriate instrumental that would bring out and depict the emotions of what I have written.
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.
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.
Usually when we go in to cut demos, one of us will lay down some mumbling sort of stuff for the vocal melodies because the lyrics don't come until later.
I'm always writing; my phone is full of ideas - melodies and lyrics and stuff.
I used to help Viv with the chords and melodies sometimes.
We love great melodies and great songs that have great hooks and melodies, so we start a little bit more on that side as opposed to other people that start more lyric-based. Sometimes we'll do it the other way.
I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
I would describe my songs as just a collection of my thoughts, with melodies that probably occurred to me in the grocery store or cycling home, sung as best I can over a bunch of chords.
With Schubert, a lot of the melodies are very simple, but he's in this groove. He's in touch with his heart.
It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.
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.
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.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
I'm obsessed with great endings and crazy intros and stuff like that. I think we all are from what we've listened to and stuff, so I've always focused on great bridge melodies that just kind of naturally fit, or like a crazy ending at the end of 'Seize the Day,' something like that.
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 think if you go to 'Strength of the World,' a song like that, the chorus isn't that great, but you go into the bridge and other things and the catchier parts and the better melodies we were really focused on.