A Quote by Momina Mustehsan
'Muntazir' has a very feel-good vibe to it. It's Strings' signature composition, especially the pre-chorus. I thoroughly enjoyed lending my vocals to it.
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As far as favorite 'overall package' record of all time, I'd have to say 'My Girl' by The Temptations. I like everything about it, not only the composition - but the arrangement, the production, the lead vocals, the background vocals, the horns, the strings. That one I listen to over and over again.
Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.
The pre-chorus always flows and the chorus is always a little bit harder for me because I put pressure on myself. I didn't know that there was a proper way to do these things, so I just write what sounds good to me in my ears and then I hope to God that someone else likes it too.
I don't care how inventive you are; once you introduce strings into the ensemble for a horror film, you're entering into a world where a tradition has been thoroughly established. So it's repeated use over the years is like, 'Oh God, another film with strings, another spooky movie with strings.'
A jazz tune, melody, or composition is usually based on either a traditional twelve-bar, eight-bar, or four-bar blues chorus or on the thirty-two-bar chorus of the American popular song.
I was an only child, so I was very demanding. I enjoyed it thoroughly, but I wasn't very pleasant.
I just feel like they're a network I have a good vibe with, and I'm very grateful. My first job with a network was 'General Hospital,' and that was ABC. I feel like I have so much history with them, that they treat their shows well, and they have good, discerning taste.
We didn't want to worry about the formula that has been implanted into our brains - this verse/pre-chorus/chorus format. When we were writing 'The Papercut Chronicles,' we had no idea about any of that. We didn't know how to count bars or how to write what's considered a well-formatted pop song.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
The 'victim to victory' theory is that, if you listen to the radio, a large percentage of the hits are... about victim to victory, like, 'I'm having a terrible time.' And then the pre-chorus is, 'I don't know what's gonna happen next.' And the chorus is, 'Now I'm brilliant, and everything is great, because something happened to make it great.'
There are two issues that people sometimes confuse, but they're very closely related. There is the strength and the stability of the American financial system. And it's very important that that system remain stable and remain strong and lending is very important to consumers. Secondly, the economy. And what has gone on in financial system is impacting the economy. And as the economy is turning down, it is very important that lending continue to be available and be available to consumers. So what we're doing with this facility is to support - is to support consumer lending.
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
I thoroughly enjoyed working with him. He's truly a fantastic actor and is extremely dedicated. I feel I have grown better as an artist working with Karthi.
I'm from a very athletic family, and I thoroughly enjoyed sports as a kid, but acting was a way of expressing myself and having fun. It was something I found on my own.
I grew up singing Mexican music, and that's based on indigenous Mexican rhythms. Mexican music also has an overlay of West African music, based on huapango drums, and it's kind of like a 6/8 time signature, but it really is a very syncopated 6/8. And that's how I attack vocals.
But I would lie on the floor and analyze everything. I'd listen to all the strings and the background vocals on the Saturday Night Fever soundtrack and try to pick out the different instruments.
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