A Quote by Kim Shattuck
I like inventive melodies and chord changes, a little bit of creativity.
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John Prine in particular... just the chord changes combined with the words. He definitely can make you cry a little bit. Just a little bit.
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.
I've always been attracted to odd chord changes and interesting melodies.
The more melodies and chord changes, the less good it is for the clubs, but the better it is for radio, because it makes it really emotional.
I always put a little bit of restrictions on myself, and I only do it for my creativity. And I do it sometimes because I want the music to stand out a little bit more than many other bands do. Yeah, I sometimes impose rules on my creativity.
Jim had melodies as well as words. He didn't know how to play a chord on any instrument, but he had melodies in his head. To remember the lyrics he would think of melodies and then they would stay in his head. He had melodies and lyrics in his head, and he would sing them a cappella, and we would eke out the arrangements.
I found when I started getting serious about writing music, that my writing was country songs. It was basically country subject matter, country melodies and simple chord changes.
The smallest changes, like I stopped eating meat and I've been doing different kinds of exercise like Yoga and stuff like that, little changes have made me feel a bit more at peace I think.
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.
As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change.
I love the fact that everybody slightly changes during the holidays. Most people are a little bit brighter and have a little bit more cheer around the Christmas time and are a little bit more giving, so I love that.
Like the ability of all the musicians to end the song at the right time. Or when it's time for a chord change, but nobody knows what the chord should be, and you all, you know, it all just changes, magically, at the same time. It's when you pick up your phone to call someone and that person is calling you.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.
We love great melodies and great songs that have great hooks and melodies, so we start a little bit more on that side as opposed to other people that start more lyric-based. Sometimes we'll do it the other way.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
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