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I find I'm not one of these composers that are, you know, walking along a beach or walking on the mountainside in County Donegal that's, you know, 'Oh, a melody.' It's more a matter of eventually taking that moment with me to the studio, and it begins to evolve.
A melody is not merely something you can hum.
I liken movies to playing a piano: Sometimes you're playing the chords and different notes with unresolved cadences and playing all major chords that are all over the place, and you're enjoying yourself with a great, simple melody.
Melody has a certain way that it projects back to you. It triggers certain nerves in your body and certain instincts that normally wouldn't be triggered by a normal voice.
With a good melody... music gets me through everything.
All of our songs take these really big creative turns and twists throughout the process, so sometimes songs will start out as a melody or some musical chord progressions.
I've always been jealous of rappers, because they can fit so many words into a song and tell a story with lots of details. But when you're a songwriter, you have to fit the words to the melody and you can't fit as much in. I'm just a big fan of storytelling.
Remixes come very quickly, because you already have the melody and the vocals. I have a great passion for music, so it doesn't matter to me if it's a remix or an original production. I don't think about it as, 'Well, I have to spend three hours on a remix or I have to do something all original.'
It's a combination of melody and lyrics, not one without the other. It's a confluence of these different elements that makes something powerful.
But when you get to a song, not only do you have to do a vocal melody, you have to write words and not be redundant and make some semblance of a story.
What makes a great song - you don't put it into words. You feel it. The perfect lyric. The perfect melody. It makes you feel something.
In some types of music I'm working out all the chords one bar at a time - the whole structure, because it's about that. And there are other pieces which are really about - okay, the melody is going to start here and play through to here.
I was a very romantic, overly dramatic young lady, which served me well as a songwriter. Especially as someone who had to focus on lyrics and melody, because if you're a dramatic and romantic person, lyrics come easy, and you turn every single short-term relationship into the biggest 'Romeo-and-Juliet' story ever.
As a melody instrument player, it's all about getting from one note to the next, and those intervals and how you navigate your way through these vertical structures of chords. You realize that everything's moving forward, and it's all linear.
I love a great melody and wonderful lyrics that speak from the heart, and my music has that and speaks about it; but there's just something that was really raw and energetic about the early House music. It's hard to describe. It's like you had to go to these parties where the stuff was being played on these huge sound systems to really feel it.
Because if you've got the wit, you can make anything into a melody, ultimately.
Sometimes I feel like a melody doesn't have anything to do with me, but it's just something that comes, is accumulated from me playing on the piano, and then this little creature just appears.
My music is based on melody and when I play the piano, it's as if I'm singing with them. When you try to transform that into a vocal, there was very little adjustment.
After all my years of doing instrumental music I still like just a simple instrumental song with a nice catchy melody and an opportunity to play a solo over a harmonic structure.
When I first started making music, it was learning other people's songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
We human beings are tuned such that we crave great melody and great lyrics. And if somebody writes a great song, it's timeless that we as humans are going to feel something for that and there's going to be a real appreciation.
The human brain is a funny thing: it's very susceptible to tempo and melody. You put the right words to it, and it becomes very influential.
I have a tape recorder, and I just sing into it. I like to write that way. Sometimes I'll just get melodic ideas, and then I'll go home and sit down and add the lyrics. Or sometimes I'll get a lyric idea that I love. Usually it's pretty combined. Usually I get some kind of a lyrical concept and a melody and work with that.
Composers now just don't have the depth of inspiration for melody. Most of the lyrics of the pop songs you hear today are repetitious. They're almost nursery rhymes, as if written by children - which they are.
When I write, it is always the melody that comes first, and it just happens to be the case that the most beautiful tunes are sad, and the lyrics follow the mood of the melody.
John F. Kennedy
A. P. J. Abdul Kalam
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