At school, I enjoyed playing the bassoon. I was in the orchestra and played the melody when the other boys sang hymns at prayers time.
The point about melody and beat and lyric is that they exist to engage you in a very particular way. They want to occupy your attention.
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.
Reggae, oh man. It's the ultimate music. The positivity. The musicality. The whole cultural expressionism of it. The danceability. Just the cool factor. The melody factor. Some of it comes from a religious place. If there were a competition of who makes the best religious music, it would definitely be the Rastafarian reggae.
People fall into patterns at fast speeds, when really, to have a clear musical thought - the kind of musical thought that makes a melody work - our brains just can't think that fast. At a certain point, you're going on automatic.
Being a purely instrumental album, it makes a musical statement, not a religious one, and I hope that people can feel the emotion of the great melodies, even without the words.
I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.
I wasn't writing the music. Ed would write a piece of music. I'd listen to it and come up with a melody and then we would arrange it. We'd put it together and I would write lyrics to my melodies.
Sometimes songwriters and singers forget that. They get a melody in their head and the notes will take precedence, so that they wind up forcing a word onto a melody. It doesn't ring true.
Well, what I love about '80s rock music is the amazing, fantastic melodies.
Pop is a little bit theatrical. That's the whole vibe. That's the point - is that it's great music, great melodies, great hooks. But, on top of it, it's a presentation. There's a showmanship about it. And that's why I wanted to be a pop star.
Elton John can be a master of the sleight of hand. The arrangements make it seem like there are substantial melodies underneath the tracks - but almost nothing demands repeated listenings. Similarly, he always sounds like he's singing up a storm, but his voice glosses over the material, reducing most things to an uninteresting sameness.
I am moved more by melodies, song structure, and evocative textures.
I usually dream of melodies. When I wake up I have them in my head. I usually come up with things in the middle of the night because that's when my mind is the quietest. I always have my tape recorder, pen and pad by my bed just in case.
Doo-wop is special music to me because it's so straightforward and melody-driven and captures emotions.
People are always asking me what my lyrics mean. Does it mean this, does it mean that, that's all anybody wants to know. F**k them, darling. I say what any decent poet would say if you dared ask him to analyze his work: If you see it, dear, then it's there. ... I think my melodies are superior to my lyrics. ... I was never too keen on the British music press. They've called us a supermarket hype, and they used to suggest that we didn't write our own songs.
Every time I write a song, it's different. I'm all about the rhythm of the words and the melody. Musically, you gotta have a throbbing pulse going. But as far as what it's all about, there's a million ways to go. You have to invent a new code for every song. Then you have to break it. It's like Scrabble or a crossword puzzle on steriods. I could talk about the process for days. But it's never dull and there's no one way in.
I knew a lot of chords, but they weren't the chords that came with the melody that came with the idea I had for the song. Melodies are simple things. If you see a train wreck, there's a melody. If you see a little daisy blowing in the breeze, there's a melody.
I have a structured songwriting process. I start with the music and try to come up with musical ideas, then the melody, then the hook, and the lyrics come last. Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
Do I start with the lyrics? No. Quite honestly, it's the opposite. I generally get the melody first - I kinda fiddle around on the guitar and work out a melody. The lyrics are there to flesh out the tone of the music. I've tried before to do things the other way around, but it never seems to work. Obviously, I spend a lot of time on my lyrics, I take them very seriously, but they're kinda secondary. Well, equal, maybe. I think sometimes that if you write a poem, it should remain as just a poem, just... words.
What happens a lot with songwriting is that a melody or rhythm or something stays with you like catching a cold. And during that time what happens is that I can then fit things on to it, it all fits and glues together. Sometimes it's crazy cos it can almost be anything. But if you catch the cold then the nonsense makes sense. It's like you're getting beamed it, like with a ouija board and something's pushing your hand. It's not a pleasant experience necessarily.
I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
Country music to me is heartfelt music that speaks to the common man. It is about real life stories with rather simple melodies that the average person can follow. Country music should speak directly and simply about the highs and lows of life. Something that anyone can relate to.
Most Radiohead songs are actually REM songs, I just have a mentally ill child read the lyrics aloud and then I change the melodies a bit.
The saxophone is actually a translation of the human voice, in my conception. All you can do is play melody. No matter how complicated it gets, it's still a melody.
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