A Quote by Derek E. Miller

I don't want to write melodies anymore. I can only write really simple, dumb caveman melodies. — © Derek E. Miller
I don't want to write melodies anymore. I can only write really simple, dumb caveman melodies.
Melodies and ideas are always on my mind and always coming to me. I'm very thankful for that because if I didn't have whatever that is, that craziness, that openness, maybe, I don't think I'd be able to do what I really love to do, which is write great melodies and at least try to write great 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.
I kind of write in a very classic way. I sit in the piano, working on some catchy, cool melodies and coming up with song concepts for those melodies. I kind of write in a very traditional way '- how people have written since the early '40s.
If you see a credit with just my name on it, that means I write absolutely everything: rhythm guitar parts, guitar melodies, vocal melodies... absolutely everything, really.
Avicii's melodies were so simple and cool, and they were actually similar to the melodies I played on piano. I thought if I could teach myself how to produce and get those melodies out of my head and into the computer, maybe I could make some cool music, too.
Those who were still able to write beautiful melodies were kitsch composers like Tchaikovsky. Tchaikovsky approaches true art not in his numerous beautiful melodies, but when a melodic line is thwarted.
I really don't have an ear for pitch. I can't sing at all, I can't hum melodies and I can't write riffs.
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...Everything that happens to you influences your writing...The writing process for me is pretty much always the same-it's a solitary experience...I have yet to write that one song that defines my career...Beck said he didn't believe in the theory of a song coming through you as if you were an open vessel. I agree with him to a certain extent.
I could always hold a melody, but I was never like, I'm going to be a singer. So I'm able to use that when I write. I'm actually playing the beat with my voice. Instead of thinking about coming up with melodies, it's like filling in the instruments. So sometimes it's better to have beats with less melodies in them, because then I can play more with my vocals.
The Beatles were a huge influence on me to write really good melodies.
I used to write on pads with a pen but had trouble reading the words the next day. Years later, Bob Dylan taught me to just write and write on a laptop computer. Then I'd print that out. When it was time to write a song, I'd go through the pages and sing melodies to words that moved me.
I could probably have an idea one day and then go into the studio and really wanna write about just that idea that I have in mind. Or it can vary with just a simple beat and I just do a bunch of melodies on the track that inspire me.
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.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
I write for myself; I'm trying to keep myself interested in the music. But at the same time, I want to make the songs relatable in a way; I want to keep melodies pretty simple and the lyrics open-ended so that people could maybe relate them to their own life in different ways. Something for everybody to have a piece of.
There was a lack of inspiration in London. There were a lot of dregs of the Libertines' movement, and we didn't want to do that. We wanted big melodies and hooks, organic melodies that could fall apart at any moment.
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