A Quote by Alan Menken

Songs should have an infectious melody and rhythm. — © Alan Menken
Songs should have an infectious melody and rhythm.
Songs should have an infectious melody and rhythm and, I think, should elicit an emotion of happiness or of celebration or of sadness or of sorrow or of love or laughter, whatever.
Essentially I'm a melody person in a rhythm age, and that's what Broadway is really about, the songs.
It was a matter of not seeing the woods for the trees. Glorious songs have been in Ireland forever, but a lot of these were so popular they were sung only by drunken men at weddings. They didn't have any regard for the song at all. So, I picked out 14 songs that I had grown up with, songs with great melodies. After 35 years as a songwriter, I appreciate the value of a good melody because I know how hard it is to write one. So I presented them in a new way, with piano, keyboards, strings, and a contemporary rhythm section. I just treated the melody with a bit of dignity and a bit of style.
Rhythm is one of the principal translators between dream and reality. Rhythm might be described as, to the world of sound, what light is to the world of sight. It shapes and gives new meaning. Rhythm was described by Schopenhauer as melody deprived of its pitch.
It is the melody and the rhythm that are by far the most important and then words and imagery and stuff, story bits will start to stick to a melody and that is the way I write.
Rhythm, melody, message, that's what matters. Our main concern coming out of the gate is to make sure those foundations are strong, the songs are speaking to us. Everything else, horns and strings, is sweetening.
I always write lyrics first and the rhythm and the melody come from the lyrics. It always comes from the lyrics: words have rhythm and words have melody.
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.
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 consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
I think it's good to have a balance. Everything I write about, it's not something I necessarily might have went through, there's songs where I might have an idea, sometimes it might be a melody or something that I like, I make up a story to go with that melody. But I do think it's most important to have honest songs.
Rhythm and melody enter into the soul of the well-instructed youth and produce there a certain mental harmony hardly obtainable in any other way. . . . thus music, too, is concerned with the principles of love in their application to harmony and rhythm.
Innovating something that is familiar. That's the general approach, and that's what I want to do with the melody as well. It should ring true - you should like every melody sequence without knowing what's happening next.
Melodies are far more interesting. They are there, in your face, in certain sections of the songs. People do complain about the melody thing, but we do hit patches of melody and beauty, as well as the other stuff.
I have a lot of memos in my phone of songs; I've had dreams about a melody. It's always melody first as far as when stuff like that happens - I find that my melodic sense is my strongest asset as a songwriter.
I look at melody as rhythm.
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