A Quote by Nani

I personally like melodies. And Mani Sharma garu is the Melody Brahma. — © Nani
I personally like melodies. And Mani Sharma garu is the Melody Brahma.
Mani Sharma garu's songs are great.
I am a big fan of A.R. Rahman and Mani Sharma, and I went to a shop to buy these music directors' CD. But I had only Rs 100, and Rahman's CD cost more, so I couldn't buy both. So I bought Rahman's CD and stole Mani Sharma's CD.
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.
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.
I kind of always thought that I had a good ear for melodies. I think in terms of melody. I can just be walking and I'll hear a melody.
Just think, Vishnu sleeps in the cosmic ocean, and the lotus of the universe grows from his navel. On the lotus sits Brahma, the creator. Brahma opens his eyes, and a world comes into being, governed by an Indra. Brahma closes his eyes, and a world goes out of being. The life of a Brahma is 432,000 years. When he dies, the lotus goes back, and another lotus is formed, and another Brahma. Then think of the galaxies beyond galaxies in infinite space, each a lotus, with a Brahma sitting on it, opening his eyes, closing his eyes.
I knew a lot of chords, but they weren't the chords that came with the melody that came with the idea I had for the song. Melodies are simple things. If you see a train wreck, there's a melody. If you see a little daisy blowing in the breeze, there's a melody.
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.
In terms of melody, I am really into great 90's melodies. I feel like there was a great focus on melody in the 90's, like 90's pop-hooks and 90's R&B hooks; I just love them.
Brahma is the great Creator, Life a mystic drama; Heaven, and Earth, and living Nature Are but masks of Brahma.
I worked with three designers in my heydays - Bhanu Aathiya, Shalini Shah and Mani Rabadi. Out of these, Mani was the least assertive and aggressive. I remember Bhanu used to be quite insistent and particular about her fees etc whereas Mani was too soft-spoken.
We start a lot with melodies and instrumentation and trying to figure out good melodies for verses and choruses. We get to lyrics sometimes second, so we'll start humming a melody, finding something, and see where the music takes you as far as lyrics are and what you want to say and go from there.
Melodies are very important in a song. Having a great melody and a great hook. That's what I would always come up with a great melody and that's important.
My mother Sheela Sharma is an actress and father Subhash Sharma is a producer-director. But I had a normal life while growing up and always kept myself grounded.
What comes first? The melody, always. It's all about singing the melodies live in my head. They go in circles. I guess I'm quite conservative and romantic about the power of melodies. I try not to record them on my Dictaphone when I first hear them. If I forget all about it and it pops up later on, then I know it's good enough. I let my subconscious do the editing for me.
Trivikram garu is my inspiration to learn Telugu. When I made my debut I didn't understand a single word, even when people around me would be talking. Trivikram garu used to translate for me.
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