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Heard melodies are sweet, but those unheard are sweeter.
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.
I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level.
By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.
In English, the sounds and melodies I created were an inspiration to me, and words came to me as I explored the sounds, and from there I was able expand on the meaning.
I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.
When you are accompanying someone, you are listening to them the way you listen to a Bach Chorale, where four parts are going on at the same time, all of which are gorgeous melodies, all being played simultaneously.
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 like to hear melodies that go from one extreme to the next- saxophone to a bell to a whistle, for instance.
When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.
In country music the lyric is important and the melodies get a little more complex all the time, and you hear marvelous new singers who are interested in writing and interpreting a lyric and in all form of popular music.
I used to help Viv with the chords and melodies sometimes.
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.
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
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.
I think my melodies are superior to my lyrics.
Brazilian music has many of the ingredients that I strive for in my own music: Strong melodies and a disciplined but intense rhythmic concept, and interesting harmonies.
I am moved more by melodies, song structure, and evocative textures.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
There, in the chords and melodies, is everything I want to say. The words just jolly it along. It's always been my way of expressing what, for me, is inexpressible by any other means.
Some things remain fragments, just the lyrics and melodies or a line or two or a verse.
But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.
There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material, motifs, and melodies.
A song that sounds simple is just not that easy to write. One of the objectives of this record was to try and write melodies that continue to resonate.
With Schubert, a lot of the melodies are very simple, but he's in this groove. He's in touch with his heart.
Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.
I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
I have a very strange melodic gift: melodies come to me effortlessly.
For me, the most difficult thing is that I am learning melodies on guitar from some songs whose melodies were not meant to be played on guitar. Ever. They were intended mostly for keyboards or melodic percussion.
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