A Quote by Tim Commerford

With Audioslave, it's all about melody and chord progressions. — © Tim Commerford
With Audioslave, it's all about melody and chord progressions.
I tend to hear rhythm and melody, chord-progressions, long before I hear words.
All of our songs take these really big creative turns and twists throughout the process, so sometimes songs will start out as a melody or some musical chord progressions.
Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition and being able to hear chord progressions and licks) comes into play a lot more.
Chopin was a master of melody, harmony and voice leading - the art of smoothly moving from chord to chord.
Sometimes, I actually end up doing three or four different versions of one song, and sometimes, those versions can be done very differently. They can be very laid back, downtempo, or sometimes the same song can be quite uptempo. But it is always the same melody and chord progressions.
I love to work with producers who are very good with their chord progressions.
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.
When I was with the Doobies, the style of music was that we all went over the falls with chord progressions, trying to make things as complex and interconnected as possible.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
Whichever chord progressions move me, whether it's rock, jazz, doo-wop or soul, I'm going to put it together and not be worried about whether people can put it in a lane or not.
For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works, or it doesn't.
There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there.
I write my songs many times to chord progressions on a piano. Unfortunately, I can't keep playing the piano, so I just record it into the software.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
I definitely don't see myself as much of a singer, because my upbringing is really based around the guitar, learning chord progressions and that sort of thing. So the singing aspect of what I do has been a secondary adventure.
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