I prefer music where melody, harmony and rhythm come together and no one element overshadows the other. Jazz at its best is a democracy of creativity.
Melody always comes to me first before words - cadence and melody. When you're humming the melody and it's incredible and words start coming out it can build into something special.
I want to use songs that everybody knows or thinks they know. I want to show them a different side of it and open up that world in a more unique way. You have to believe what the words are saying and the words are as important as the melody. Unless you believe the song and have lived it, there's little sense in performing it. I never wanted to be a singer that
This little flute of a reed thou hast carried over hills and dales, and hast breathed through it melodies eternally new.
I am really obsessed with finding melodies that just hypnotize you and sink you into a song.
All songs have those X factors. I couldn't even explain or describe what will grab me about them but it's all music that I'm usually listening to. I'm always looking there to hear new music and see what's going on so that's usually when I'll hear something and be like "Wow, that melody is really crazy.
I get asked all the time, "What is a George Strait song?" I know it when I hear it. I don't seek a specific tempo or lyric or melody. It just has to make sense. Maybe it is natural because I was given the gift to sing.
Sometimes I just start humming something, find a melody I like a lot, and if it sticks around for a couple days, a few words will lock themselves into place. I might just get the first line. Then words just keep falling into the syllables. The choruses kind of write themselves and verses I have to work at a little bit.
I know I have a very unusual style of playing, where other more recognized and technically proficient players might look at me and wonder what the heck I'm doing. The purpose of my learning to play the way I do was more to accompany my singing. I figured out a style where I'm mentally playing the drums over a simple melody.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
Sometimes I write notes that I have difficulty singing. And you start talking yourself out of the bold melody and start wanting to arrange it in another key or something. Maybe I just never learned my harmony part, because what everybody says sounds odd to them sounds perfectly natural to me.
The first time I started listening to Irish music, I had a very strong connection. Strangely enough, there's a great many Japanese melodies and vocal styles that sound very much like Hungarian music. You start seeing all these cross-references and comparative, independent musical cultures.
I'm really good at melodic and sonic things, but I don't really think I have anything to say. But I really enjoy the puzzle-making of taking words and adding a melody to them.
In a novel, the biggest symbiosis exists between plot and character. In a song, it would be the lyrics and the melody.
My creative process isn't a long one, so I could have started a song 10 years ago and then finish it 10 years later. It's all just about pushing around words and melodies, for me. The material is kind of shape-shifting.
I can be whatever it takes to be a folksinger. Folk music to me, if we had to have a definition, is portable music. A lot of what I do is flash, gesture, athletics, but what it comes down to is getting across a melody that will help it stick to your ribs, and being able to take it from town to town.
I have ideas for songs all the time, but musical ideas, like melodies, really come out when I'm in nature.
There are no rules or certain methods. I usually start with the guitar or piano and sing melodies over the chords. The lyrics seem to be born out of that, and the fact that it's still a mystery to me is my favorite part.
Music to me, still to this day, is this wide open landscape of potential sounds (and I have more words for it now as a grown person), but as a little kid I used to think, "oh, you can just make up melodies and sometimes when you make certain melodies it makes you feel a certain way."
Sound continues to be a mystery to me, in that one could create infinite songs focusing on the same subject, but depending on the melody, instrument choice, minor or major key, time signature, etc., each song could elicit an entirely different response.
All the big pop acts that I've been into over the years - whether it's ABBA or Prince - managed to combine amazing melodies and honest human emotion. But coming out of the super-super-commerical pop industry in the 90s, maybe people forgot about the fact that pop music can do both of those things.
Sometimes I write songs that just come out in a pop format because I grew up on melody and these amazing artists during the 80s. It's my tradition and it's something that I can't really control.
I don't have some songwriting formula that I kinda go by. Usually it just comes by way of inspiration. Sometimes I'm inspired by a melody first and sometimes I'm inspired by a lyric. Typically, I'm inspired by an idea for a lyric and then after we get the lyric going then we write a melody to it.
I'm much better at fixing or changing a melody to suit me than I would a lyric. But for me, everything is lyric. It has to be true for me to say it.
Science without discrimination Human existence without discipline Friendship without gratitude Music without melody A society without morality and justice Cannot be of benefit to the people.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: