Nina Nesbitt Quotes

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 know texture is really important, but I think texture and stuff precedes songwriting a lot of the time these days.

Melody is the single most important thing to any song, period. I don't care what anybody says, it trumps everything. Not because that's my opinion but because I think it's actually indisputable fact. The human brain retains melody easier than it retains words. It's that simple.

There are certain choices you make as a songwriter, based on vowel sounds and melody and chord changes.

If the chords change a lot over the course of a song, it's better to stay within the same melodic structure.

I don't think people care about the mechanics of songwriting.

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 think what I wanted to do was meet someone who knew more than me about songwriting structure and progressions and middle eights and things that more traditional writers write and I don't usually employ.

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.

Melody is the essence of music. I compare a good melodist to a fine racer, and counterpointists to hack post-horses; therefore be advised, let well alone and remember the old Italian proverb: Chi sa più, meno sa— Who knows most, knows least.

Melody is the essence of music. I compare a good melodist to a fine racer, and counterpoints to hack post-horses.

Solos I kind of [couldn't] care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cornerstone of what I'm working on.

Great melody over great riffs is, to me, the secret of it all.

Yes, basically, like you said, I'll work out a chord pattern and work out the lyrics over that.

Most people don't really need to hear a six-minute guitar solo that modulates between five keys and time signatures. What they want is a good song.

I really believe in melody.

I had no idea what those cords were in the bridge of 'Prisoner In Disguise' when I wrote them. I had to go over to Don Gorman, the piano player, and ask what in the world I was playing.

I liken movies to playing a piano: Sometimes you're playing the chords and different notes with unresolved cadences and playing all major chords that are all over the place, and you're enjoying yourself with a great, simple melody.

I think my melodies are superior to my lyrics.

It's hard to decide how to match words to music. It's not like it's twice the work. It's always difficult for me to explain to the composer what I'm looking for. I'm not a professional; I lack even basic knowledge about writing music.

I could tell it was a popular move as a writer to walk down the bass lines while you were writing a song.

You have to have that organizational principle behind the song.

A lot of music is mathematics. It's balance.

I haven't written enough songs to be able to say that I have a system. I've only written a handful.

I am moved more by melodies, song structure, and evocative textures.