When we are parted, let me lie In some far corner of thy heart Silent, and from the world apart, Like a forgotten melody
I have a Bird in spring Which for myself doth sing - The spring decoys. And as the summer nears - And as the Rose appears, Robin is gone. Yet do I not repine Knowing that Bird of mine Though flown - Learneth beyond the sea Melody new for me And will return.
A French friend brought over a load of Gainsbourg vinyl and I worked my way through it: by the time I got to L'Histoire De Melody Nelson (1969) I was thinking, 'How can this man have died before I got to know his music?' I was a convert.
No one can threaten poetry. It's always been there, always will be. Humans need it to live: it has sustaining powers. How could we (anyone) get through adolescence without some form of song? Song is only a version of lyric poetry that is carried more by melody than by internal coherence and unity. but lyric and song - they are the same.
Where Snah [Hans Magnus Ryan] is a melody and texture man, I am more of a riff, rhythm and concept guy. I am much better than him in certain fields, and he surely wipes the floor with me in others, and we both know it's like that.
The song could start with a riff that I base the song around. Or a chord progression or a melody I have, I just write a story about it. Lyric-wise, it's cool to have someone else's input too.
When you do a remix, obviously you get a beautiful melody, you get the beautiful vocals - everything is already set up. You already have a base, which means all I gotta to do is create the music behind, 'cuz it's already beautiful.
I don't really inject the rock 'n' roll thing, what I take from rock 'n' roll is probably the melodies and the musical behind it.
I want to do some different kind of songs, but say I want to do riffs, but I don't come up with any riffs that I really think are great. Then I can't do a riff album. I'm more of a song, melody person.
When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas. Eventually, that process of using my voice to bring ideas across became more complicated, and I felt I could use it more as an expressive tool.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
I was getting really influenced by some darker, heavier electro stuff, like Crystal Castles. And I was listening to some dub-step elements, so I thought this was going to be the natural progression, taking my soft melodies and my soft voice and marrying it with something a little heavier.
I like to get a vibe first, then a melody and really beat up the melody for a while, then try and find a lyric that really suits him/her.
I really think of my motives, my melodies, my harmonies, as being these things that are very much alive. They have these little lives of their own that are stretched and pulled, and I do conceive of my music in a very narrative way.
Music really does just boil down to basically, essentially songwriting chords and melodies.
I think that a great song needs the full package. I think that a great song needs everything from lyrics, to melody, to music, and it needs to be interesting and it needs take you in and swallow you and swish you around, and then regurgitate you back in better form.
To me it's no accident that all the symphony orchestras around the world tune up to the note A. And A is 440 cycles, except in Germany where it's 444. But the universe is 450 cycles. So what I'm trying to say is, I think it's God's voice, melody especially. Counterpoint, retrograde inversion, harmony... that's the science and the craft.
I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff. It's the first thing I have to solidify whenever...I get into a character. The first thing I need to get sorted out before I can then move forward, before I can feel any confidence whatsoever, is the voice.
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
I write all my own songs and they are just simple melodies with a lot of lyrics. They usually have to do with current events and what is going on in the news. You can call them topical songs, songs about the news, and then developing into more philosophical songs later.
There is no music in a “rest” that I know of, but there's the making of music in it. And people are always missing that part of the life melody.
Melodies die out, like the pipe of Pan, with the ears that love them and listen for them.
music is not technique and melody, but the meaning of life itself, infinitely sorrowful and unbearably beautiful.
While a man is stringing a harp, he tries the strings, not for music, but for construction. When it is finished it shall be played for melodies. God is fashioning the human heart for future joy. He only sounds a string here and there to see how far His work has progressed.
Those who were still able to write beautiful melodies were kitsch composers like Tchaikovsky. Tchaikovsky approaches true art not in his numerous beautiful melodies, but when a melodic line is thwarted.
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