One nightingale in an interfluous wood Satiate the hungry dark with melody.
Singing a melody is like a lot of easier and when you sing harmony you have to really kind of know music and listen to the music and be able to hear the notes or whatever.
I could always hold a melody, but I was never like, I'm going to be a singer. So I'm able to use that when I write. I'm actually playing the beat with my voice. Instead of thinking about coming up with melodies, it's like filling in the instruments. So sometimes it's better to have beats with less melodies in them, because then I can play more with my vocals.
I had a melody and a rhythm and chords, but nothing to talk about. I remember reading about how the decline of the steel industry had been affecting the Lehigh Valley, and I decided that's what I was going to write the song about.
A letter depends on how you read it, a melody on how you sing it.
Not everybody has to sing the melody.
Sometimes I start just on the piano with a melody or musical idea that kind of leads me to certain lyrics.
Wherever inspiration comes from, it's like I'll hear a melody and chords, almost a rough structure of the whole thing [song]. I'll just hear it and chase what's in my head. The rest comes from jamming with band, improvising, seeing what comes up as well. I'll come up with it off the top of my head, catch it, sing and hum, and if something is missing, just jam, and that's the [songwriting] process.
A great song for me is when I hear it and it's contagious. The lyrics and the melody, if grows on you once and you want to hear it over and over again.
Something that distinguishes my solo work from normal rap production is that it has a lot of melody - it's not just cutting up a song and having someone rap over it.
I think the emotion that song carries makes it good. Because you have to produce around something - an emotional attachment and a feeling. The melody itself has a feeling in it. The keys, the tones, frequency, sonics, all of those have feelings in it. Like, it's the ghost within, the music itself. That's what makes the song even have a possibility of being great. The emotional connection. Because if you don't have that, I don't think you really have a song.
Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.
When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they’re talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of — or alongside — the words of a song. I found that if I sang a line using the consonants, vowels, shadings, and inflection we recognize as human language sounds, people responded as if I were talking to them.
I shall take my voice wherever there are those who want to hear the melody of freedom or the words that might inspire hope and courage in the face of fear. My weapons are peaceful, for it is only by peace that peace can be attained. The song of freedom must prevail.
No one can explain how the notes of a Mozart melody, or the folds of a piece of Titian's drapery, produce their essential effects. If you do not feel it, no one can by reasoning make you feel it.
Streetlife serenader never sang on stages, needs no orchestration, melody comes easy, need no vast arrangement to do their harmonizing.
I tried to stick with what I knew best, which is writing rock n' roll songs and melodies. I am as passionate as I was when I was 20.
Sometimes melody and sometimes lyrics. It depends on the tempo and feel of the song. Slower pieces usually begin with melody and faster ones with lyrics. I write for the song and it leads me to my conclusion.
You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar.
I am quite surprised and rather disappointed by the loneliness, isolation and indeed demonisation the sadly misunderstood CO2 is experiencing. Thus, upon leaving the parliament, I am contemplating the foundation of an organisation called 'The Friends of Carbon Dioxide'. Membership will of course be open to all, including the plants whose very existence depends on CO2. I think this organisation's slogan, 'CO2 is not pollution', self-selects. It has both accuracy and melody to commend it.
My thought with harmonies and melodies in general, is that if it doesn't come right away then it's never going to come at all.
Often when I find myself listening to music, at least 60 to 70% of it is foreign, so I don't understand a word of it. Melody to me will always be a million times more important than words.
Lyrics are what I tend to tear hair out over and they're where I tend to feel weak musically, if I'm being very honest. It is not something I feel like I know anything about; I would not consider myself a writer. I just want to sing, I just want to sing a melody, I just want to feel a melody, and be part of the song, and everything else is not so important.
You always know when a real inspiration is behind the melody, arrangements, even lyrics. And I know that's really vague, but it's true.
I learned so much about music by playing this little, miniature songwriting machine [ukulele], especially about melody. The motto is less strings more melody.
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