Well, I loved singing in the chorus, and there was some connection for me between gospel and choral music.
The pope has been called many things, historic figure, spiritual leader, moral force. But a growing chorus of voices has begun to refer to him as John Paul II the Great, in other words, as a saint.
When I write a song, I see a tunnel, and then the chorus is an open space, or the bassline is doing this shape. I see songs as a more of a geometric, spacial experience.
Boys will be boys and girls will be girls, and if you want it any different you can join a Shubert chorus
I'm fortunate in that I've grown up in a worshipping tradition which is quite rich musically (and music is very important to me) and has a wonderful resource of hymns from all sorts of different parts of the Church... and to go to church and be able to sing that stuff and listen to a Bach motet or indeed some charismatic choruses.
It's just like an idea, like a chorus, and then we just jam on it - it happens in loads of different ways. The best songs I find always come from the subconscious, like when you don't think. Not to be pretentious about it, but usually songs just blurt out rather than thinking about it. I never write lyrics and then do a song, I find that really hard - that's like a real skill.
I never shied away from a challenge and I love doing big, epic films. They're interesting to me just on a pure music level, just in terms of the amount of music I could create for a symphony orchestra and chorus.
A few years back, even the most commercial pop could have some artistic value. Someone who liked underground music could appreciate Justin Timberlake, too. Now, I just don't get it. Production values are boring; songwriting has gotten worse - the choruses on a lot of popular hip-hop songs are especially bad. The rappers hit their flow in the verses, then when they try to sing, it's a mess. And just like the airbrush tool in Photoshop, Autotune is way overused. It's not a toy!
We need the whole song, all the verses and the choruses to serve us as our own story unfolds because- trust me- life is hard, but God is good.
Conversation never sits easier upon us than when we now and then discharge ourselves in a symphony of laughter, which may not improperly be called the chorus of conversation.
Someone's always calling for my resignation. It's nothing new. It's something that's been part of my tenure at Exodus over the last decade plus. So he can add his voice to the chorus of others whether it's gay activists or now a New Testament professor.
I love raising awareness and encouraging people to take action for World Environment Day, because it demonstrates how individual voices can become a global chorus for change.
My interest in women's voices started when I was in the boys' choir and we were singing in opera choruses. That was my first close-up experience with the female soprano voice. I was amazed at how it could be within the same scale but so different in quality.
With rock music, it usually revolves around the band. You go in as a band and probably take about a year to record an album. But for a hip-hop song, you can create a track and an idea with verses and choruses in a day, and get three different people on it. It seems like you're able to do more with hip-hop.
When a poem might become a song, then certain parts are repeated and might become a refrain or a chorus, so they change in that way. But it's more the nature of the words and what they're saying that determines whether it's a poem or a song.
I write my own lyrics completely on my own. Sometimes I have people helping me with concepts or like choruses and stuff sometimes, but mostly I write all my own songs by myself, especially the verses and a lot of the choruses.
Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.
Every part of every song can have a totally different musical sound, because otherwise if I wanted to go from a verse of one song to the chorus of another, I'd have to go: "Uh, okay, press that pedal and then... press that pedal, and then press that pedal off."
I wanted to have all the songs to be the strongest they could be and all the choruses to be catchy. One of those records you could put in your car and just drive and not have to change it.
I've always been the high harmony singer. It's never my job to know the verses! But I know the chorus of every song ever made.
The only reason why I acted in school was because of the community, like I was in the chorus of every play, I was never really the lead.
I'm intrigued by the classic Greek tragedies, as well as by the idea of the Greek chorus.
All music is what awakes from you when you are reminded by the instruments. It is not the violins and the cornets-it is not the oboe nor the beating drums, nor the score of the baritone singer singing his sweet romanza-nor that of the women's chorus; it is nearer and farther than they.
Mancil Travis - I have always had a fascination with this character from my hometown. When I put pen to paper to recount stories I knew of him, I kept hearing this dream sequence in my head that was Willie Sugarcapps harmonies singing like a Greek chorus, "White carnations."
I love analogue tape and I love digital, they both have pluses and minuses and I don't really feel like I have to use one or the other. I love digital because it's really great for songwriting because you can just cut and move choruses around and pull chunks of songs. It's really easy to hear quickly "Oh, maybe the arrangement should be like this."
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