Quotes About Composition

I like to come up with the melodies, and I have a lot of ideas as far as structure goes.

I feel safe and comfortable to do that once I know that the song structure around the bass part is very interesting and it satisfies me in a compositional sense.

That is what intrigues me; songwriting and song structure and expression.

A scene has to have a rhythm of its own, a structure of its own.

It seems to me the structure of the Quartets is too imposed.

In writing music, the structure of each piece is a very important factor.

Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.

I'm very interested in structure, how multiple stories are assembled in different ways; that is what memory does as well.

With 'Pretty Deadly,' I think you'd be hard-pressed to find a three-act structure in it. I don't know - someone probably can.

A recipe is not an exact formula, but it does need a certain structure. When the bones are right, you can dress it in many ways.

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

It's probably what I'm most interested in as a choreographer: how I can alter and shift and develop the structure of a piece and of the space.

I like really sparse electronics, lush arrangements, and interesting chord structures.

I compose melodies in my head and then interpret them musically with my guitar and keep them recorded. The guitar helps me to build unique chord structures on simple melodies.

A lot of my favourite songs have Eno involved, but I love the work he does on the first two Roxy Music albums. He's creating atmospheres as opposed to composition, and it's a beautiful mixture with everything else in that band.

We love great melodies and great songs that have great hooks and melodies, so we start a little bit more on that side as opposed to other people that start more lyric-based. Sometimes we'll do it the other way.

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

For an artist, there's nothing better than working with an orchestra.

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

When I want 30 musicians in the orchestra, I get 30.

Why write for the orchestra? For one thing it's a very challenging problem.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

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

We're more about other things over odd timings: orchestration, composition, horn/vocal arrangements - that's where we get super weird.