A Quote by Rodney Crowell
There are certain choices you make as a songwriter, based on vowel sounds and melody and chord changes.
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When you make a melody that doesn't come with words from the get-go, sometimes you're just thinking about random vowel sounds that go with it - and it's really, really hard to write lyrics that actually obey the vowel sounds.
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there.
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there. So I intentionally don't get involved with arranging stuff or fussing over the sounds and the edits and the beats too much, at least not in the beginning, because I feel like then you can fool yourself that you've got something there, when you might not.
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
All my songs are based on melody, which is retrieved from my Jewish heritage. Melody will always exist no matter what the rhythmic changes there are.
I'd been getting bored with the stereotyped changes (harmonies) that were being used all the time. I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.
Chopin was a master of melody, harmony and voice leading - the art of smoothly moving from chord to chord.
A lot of it starts with playing instruments and working with other people. Some of the new generation is doing it on computers and they don't have a clue as to how to play anything. That's probably one of the problems. They don't know how to make the melody, go through the chord changes. They're not starting from that same school of thought.
I could hear it sometimes, but I couldn't play it. I'd been getting bored with the stereotyped changes that were being used. I found that by using the higher intervals of a chord as a melody line and backing them with related changes, I could play the thing I'd been hearing.
I can talk about feelings, but I can't talk about why this chord on top of this chord sounds cool to me. It just makes me feel a certain way, and I like it.
I don't control the movies that are offered to me, but I make choices based on certain parameters.
The world is never quiet, even its silence eternally resounds with the same notes, in vibrations which escape our ears. As for those that we perceive, they carry sounds to us, occasionally a chord, never a melody.
When my dad played me 'Walking Man,' I heard those chord changes and that melody, it completely blew me away. Maybe you wouldn't really hear the James Taylor influences in my music, but they're definitely buried in there.
We want market-based, consumer-based reforms in health care. We want to give people incentives to make wise choices in a marketplace, not centralized choices and have government mandates and takeovers.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works, or it doesn't.
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