A Quote by Terry Bozzio

I'm not a haiku artist, but I wanted to use the phrase 5, 7, 5 in the melody that flows over time. So the string melody, the first one is five notes, the next one is seven, and then the third one is five.
I think the melody is the first time I hear in a song and if I like the melody, then I'll pay closer attention to the lyrics.
Well, I tell you... the first chorus, I plays the melody. The second chorus, I plays the melody round the melody, and the third chorus, I routines.
The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.
I've always liked string sections. I'm a sucker for melody, so it's fun to have strings add more layer of melody in the arrangement.
Melody is the first thing that comes to me when I'm songwriting. I learned piano classically first, and then I went into soul, and so melody has always been the first. It's so important.
Iris, if you were a melody...piano melody. I used only the good notes.
I approach song writing three different ways. One way is where I write the initial melody and lyrics first and then take it in to the producer to collaborate. Another way is where the producer sends me his initial musical track ideas and then I write the lyrics and melody over his track. The third way is where we just jam out in the studio and see what we come up with.
Melody always comes to me first before words - cadence and melody. When you're humming the melody and it's incredible and words start coming out it can build into something special.
When I write a song, I get the melody right first, and then hopefully I can back it up with a lyric that has to respect the melody.
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.
The musicians recommend that I sing a sing the way it is written the first time and then start to look for other notes that aren't in the melody.
Sometimes songwriters and singers forget that. They get a melody in their head and the notes will take precedence, so that they wind up forcing a word onto a melody. It doesn't ring true.
It took me seven years of writing before I published my first story. And then, the publications trickled in over the next five years.
There's a melody in everything. And once you find the melody, then you connect immediately with the heart. Because sometimes English or Spanish, Swahili or any language gets in the way. But nothing penetrates the heart faster than the melody.
I like to get a vibe first, then a melody and really beat up the melody for a while, then try and find a lyric that really suits him/her.
I write lyrics really fast. When it's time to write, I usually put them off until the very end and then when it's time to write I can just sit down: I sing the melody, whatever the melody is, because that's the first thing that's already been there for a long time; I start singing it and I start creating consonants and vowels; then they turn into words; then all of the sudden one sentence will happen; then that sentence will dictate how the rest of the sentences happen.
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