Quotes About Melody

Melody was banned from music by the composers of the avant-garde. I was unique among them in always using and writing melody and so I think this is why I've shared my music, why they can have also pleasure, not only an interesting structure.

So much of my career has been about saying things the way people say them, using melodies not that I can sing but that the people can sing.

Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.

Frankly I don't listen to lyrics (a problem in that I apparently work in musical theatre) I just want a good tune that doesn't require the use of too much grey matter.

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 there are some things in music that work and don't work. That's learned from counterpoint and rhythm and theory, and they don't work if you don't want them to work.

On 'Black Ben Carson,' I had strict no melody thing. I wanted straight, raw, rugged noise music.

No, but a cello is the perfect string bass for an accordion. Works with it beautifully.

Piano feels soft. Violins and all different string instruments feel soft. Guitar, even electric guitar before you start adding distortion, that you can play soft.

Nobody heard records of you playing whatever the melody was on those low strings. It worked out good, you know, about 25 or 26 million records later. I guess it worked out alright.

The guitarist always looks a bit clever because he's got so many strings and apparently knows what to do with them.

It's wonderful to hear strings on 'Planet Claire'.

Strings have been a part of my career and my albums since the very first day. 'Snowbird' had beautiful strings.

It's amazing how well real strings blend with metal, like that whole sound.

Rhythm, melody, message, that's what matters. Our main concern coming out of the gate is to make sure those foundations are strong, the songs are speaking to us. Everything else, horns and strings, is sweetening.

We like to take pop songs that have really cool, complex melodies or lyrics and strip away all that fluff and electronic noise, and put them back as if they were written for a singer and a piano.

I have a lot of memos in my phone of songs; I've had dreams about a melody. It's always melody first as far as when stuff like that happens - I find that my melodic sense is my strongest asset as a songwriter.

I believe very strongly in having melodic hooks, whether they're short or intricate, that you really remember in a movie.

The great musics of the world are great for very similar structural reasons: good melody, good harmony, and a balance of feminine and masculine energy.

I find it hard to write with writers sometimes because of their way of writing. Some are heavily focused on structure, but I have more of a 'Let's go with it' mindset. I like to be creative, and when I hear something that inspires me, I'll come up with a melody, a lyric to that melody, and take it from there. I try to keep it open.

If the chords change a lot over the course of a song, it's better to stay within the same melodic structure.

Dee Dee very much filled in the bottom of our sound as opposed to supplying the rhythm.

I've always loved mixing Middle Eastern instruments into a classical orchestra.

Normally when you write for an orchestra, you think about melody and harmony and countermelody.