Top 985 Melody Quotes & Sayings

I have a 'Play The Melody' philosophy. It means don't over arrange, don't make life difficult. Just play the melody-and do it the simplest way possible.

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.

Iris, if you were a melody...piano melody. I used only the good notes.

I have never doubted the importance of melody. I like melody very much, and I consider it the most important element in music, and I labour many years on the improvement of its quality in my compositions.

All my songs are based on melody, which is retrieved from my Jewish heritage. Melody will always exist no matter what the rhythmic changes there are.

The nobleness of silence. The highest melody dwells only in silence,--the sphere melody, the melody of health.

It is the melody which is the charm of music, and it is that which is most difficult to produce. The invention of a fine melody is a work of genius.

There's nothing prettier in the world than a melody. I can get lost in a song with a melody.

If you listen to a lot of the songs that are popular now, there's very little melody in there. People love the beat. But to musicians, it's melody, because we understand how elusive it is and how hard it is to hold.

I'm good at melody - I'll write the top-line melody and ideal words I want to go with it. But I'm not that good at writing lyrics. I bounce those back and forth with songwriters or someone who can sing.

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.

The melody seems to have gone to the country. The country music seems to still have melody and interesting lyrics. But pop music, you've got to really listen hard to somebody who's doing a good melody and a good lyric.

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.

Sometime when I'm on the road, if I hear an idea, a melody in my head on the iPhone we got the voice memos. So I just record the melody or sound or the whole idea for a record.

I think I was annoyed going through the '90s just as a guy who loves music. There wasn't a lot of music for me. Everything was groove driven. We lost the plot with the melody. There's no more melody.

If the melody is telling me this is what the song is about, then I'm sort of forced into confession, autobiography or fantasy. If I don't do that, I've hamstrung the melody.

Usually it's lyric first, but sometimes it's melody. And I carry a hand-held recorder everywhere I go so I can just hum or whistle a melody if one hits me. Sometimes it's both simultaneously - lyric and melody at the same time - those are a little confusing to me, but sometimes it comes in that form. I just feel like I have my own little radio station and sometimes the static clears and something beams in from out there.

Innovating something that is familiar. That's the general approach, and that's what I want to do with the melody as well. It should ring true - you should like every melody sequence without knowing what's happening next.

Like a Star' has a very simple melody, and when you play it, it's only about three notes for ages, and it's quite boring. But when you hear the chords, the chords are sort of different than the melody, and it's pulling it around and making it mean something else.

In Hungary all native music, in its origin, is divided naturally into melody destined for song or melody for the dance.

I would literally never think about melody. I never thought people listened to melody because I listen to words.

I find it hard to write with writers sometimes because of their way of writing. Some are heavily focused on structure, but I have more of a 'Let's go with it' mindset. I like to be creative, and when I hear something that inspires me, I'll come up with a melody, a lyric to that melody, and take it from there. I try to keep it open.

There's nothing prettier in the world than a melody. I can get lost in a song with a melody. A lot of times I have, and the song wasn't that good, but I would get lost in that melody, and I'd want to do the song.

The only form of music is melody, without melody music is not feasible, and music and melody are quite inseparable.

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.

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 try to incorporate melody. Even though I'm screaming, I still like to think I bring melody into screaming.

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.

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.

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.

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.

When I write, it is always the melody that comes first, and it just happens to be the case that the most beautiful tunes are sad, and the lyrics follow the mood of the melody.

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.

It is the melody and the rhythm that are by far the most important and then words and imagery and stuff, story bits will start to stick to a melody and that is the way I write.

I am not a rock producer. I don't see that. I once turned down Guns N' Roses. I don't like shouting. I'm a melody guy. I love great melody.

My mother came from St. Thomas. I heard that melody and all I did was actually adapt it. I made my adaptation of sort of an island traditional melody. It did become sort of my trademark tune.

I used to be just a total jazz freak. People used to say, 'Where's the melody? Is there a melody in there anywhere?' Now I let the music follow the song.

I have a lot of memos in my phone of songs; I've had dreams about a melody. It's always melody first as far as when stuff like that happens - I find that my melodic sense is my strongest asset as a songwriter.

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.

Sometimes I get a lyric, and the lyric, you know, comes off the page, and goes into my brain and comes out with a melody. Other times, I may create a melody first.

I think a melody is a melody. And the way I usually start is I start writing my themes without even writing to picture to just try to find the tone for the movie or the TV show.

Melody was banned from music by the composers of the avant-garde. I was unique among them in always using and writing melody and so I think this is why I've shared my music, why they can have also pleasure, not only an interesting structure.

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.

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'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.

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.

Melody's like tweezers that go into the infection and pull out the wounded part. You can almost not stay silent in the face of a melody that matches your emotion. You feel seen.

The melody and the structure of a song always comes first for me, so the emotions behind it can sometimes be a challenge: What am I feeling about this song? Where did the melody come from? I want it to be heartfelt.

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.

I've been very lucky in that the studios really respect me and they give me all my creative freedom. But nevertheless, they are inputs, they have opinions. It's the same thing for me as if you're in a shower and you're coming up with a tune, with a melody, but there are 70 people trying to sing their own melody at the same time. So you have to focus and concentrate, and not lose the track of your melody.

The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action.

I learned so much about music by playing this little, miniature songwriting machine [ukulele], especially about melody. The motto is less strings more 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.

I came up with the "We are explorers," with sort of a counter-melody to [Opetaia Foa'i] melody. And so, it happened so organically, that it really, to me, is the most emblematic of our collaboration.

I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.

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.

Melody wins every time. Melody is always gonna win.

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.

The saxophone is actually a translation of the human voice, in my conception. All you can do is play melody. No matter how complicated it gets, it's still a melody.

Luckily, like for instance the song "Suicide Dream 1," I wrote it out of such an incredibly powerful state that the melody carries that affect. So when I produce that affect, that melody, with my body, I'm immediately thrown into it.