A Quote by Chino Moreno
I always enjoy rhythms and melodies, but I always use my voice as more of an instrument and less of a soapbox for me to say or to preach.
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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.
My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.
I always think of a voice as an instrument, whether a voice is a trumpet, or violin, or bass. You know what I mean? A horn or wind instrument versus a string instrument. Horn instruments are definitely more toward jazz.
For me, the tabletop is an easy way to eliminate the possibilities of chords, modes, melodies, and harmonies. It kind of confines you to this other sound sphere. I know anyone facing this kind of dilemma could always just find another instrument more suitable to their needs, such as a sampler or synthesizer, but I figured I have a guitar and amp so why not just use them?
I've always said that I use my voice as an instrument. It was something I created myself, and I said, 'Have voice, will travel.'
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.
I always have melodies flowing in my head - whether I'm just at home, at the mall, at a restaurant or wherever. I'm always humming along to the random melodies that form in my head. My friends always ask me, 'What are you singing?' and I'll be like, 'I don't know!'
Your voice is not your instrument. Your voice is the character that you build, your innermost feelings, the things that you want to say, and your instrument is the vehicle that you use to carry the message.
What always draws me back to the Caribbean vibes are the upbeat vibrations of welcoming melodies and positive energy exchange through the rhythms that make you feel like dancing with someone.
I think of Gord Downie voice as Whitman-esque. He has a poetic voice that contains multitudes, both the suppleness of the instrument of his voice, and just the lyrical boundaries that he pushes, which are really always thrilling to me.
The music masters familiarize children's minds with rhythms and melodies, thus making them more civilized, more balanced, better adjusted in themselves, and more capable in whatever they say or do, for rhythm and harmony are essential to the whole of life.
I've always had an ear for melodies, and they veer pop. My lyrics are more country - what I love is the storytelling and the structure, how tight the rhymes can be. But pop melodies have always been intrinsically linked to my writing style.
I feel my spot is somewhere between a bass player and a rhythm guitar player. I play with a pick. I play very aggressively. I always have a distortion pedal in line, and I play less melodies and do more stuff against the guitars that create melodies.
A defective voice will always preclude an artist from achieving the complete development of his art, however intelligent he may be.... The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb.
I like to use my voice as an instrument and just play along with the music. That's really how I tend to my voice. The content usually comes after or during that process of just trying to be an instrument.
In western classical music with an orchestra, you focus the orchestra on melodies and harmony. In African music, the biggest focus is on rhythms and counter-rhythms - the complexity of rhythms.
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