A Quote by Ludwig Goransson

Normally when you write for an orchestra, you think about melody and harmony and countermelody. — © Ludwig Goransson
Normally when you write for an orchestra, you think about melody and harmony and countermelody.
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.
What I really enjoy is not you; it's something that's greater than both you and me. It is something that I discovered, a kind of symphony, a kind of orchestra that plays one melody in your presence, but when you depart, the orchestra doesn't stop. When I meet someone else, it plays another melody, which is also very delightful. And when I'm alone, it continues to play.
I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.
I don't like using fourths and fifths. Instead, I'll come up with a harmony line made up of major and minor thirds above the melody, then I'll drop it down an octave so that the melody is on top and the harmony line is major and minor sixths below it.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
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.
Plato defines melody to consist of harmony, number and words: harmony naked of itself, words the ornament of harmony, number the common friend and uniter of them both.
Well I mean I just sit at the piano and maybe figure out some harmony or melody or both. Sometimes you can hear it in your head. Sometimes you don't always have to write it down. You just write it down so you can remember it.
There's a variety and depth to the song topics I get to write about in children's music and books: being able to write about things I wouldn't normally write about, like a disappointing pancake, or monsters or opposite day is really different than writing about heartbreak and relationships.
Normally when we go in and write the songs we write, we think about doing a cover, but never a covers record. That would be, for us, a concept. We don't want to have a concept!
I'm a very melody-driven writer and I have a rule that I don't write anything down because if I can't remember the melody than it wasn't worth remembering. So it's my way to test myself in the studio. When I was a kid I could sing pretty well so melody always made a lot of sense to me.
When I start to write a song, I have the words and I have the melody, and then it's just a matter of making it to the end. I think if I have something that I could identify as a talent, it would be that I can finish a song. I kind of know intuitively where the melody should go.
Harmony is the third element of music, after melody and rhythm, and also the one which requires the most study to actually master. People can be very instinctive and extremely gifted melodically and rhythmically, and harmony can still be difficult.
We're falling into a place where melody is somewhat lacking in music. Everybody feels like, okay, too much melody or too much harmony, and it kind of goes over people's heads; they don't understand it.
Hunter can write a melody and stuff like that, but his forte is lyrics. He can write a serviceable melody to hang his lyrics on, and sometimes he comes up with something really nice.
If you think about how long it takes to write a piece of music for an orchestra, it's outrageous to me, outrageous.
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