Melodic Interplay Quotes

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

Sound should bring you in. We have people in all these specialized departments to make it one whole. They are supposed to work together to bring us into their world, not push us away. For example, rock music has to be loud, but it doesn't have to be too loud.

Textures apply to everything I do. Even within my music, I like smooth things, and then hard and fluffy things, all giving them their place to shine.

I tried to connect my singing voice to my guitar an' my guitar to my singing voice. Like the two was talking to one another.

I always thought if I had a band it would have the energy and feel of early Police, since that's where my roots are, and then the harmonies of the Eagles, and the technique of King Crimson or something like that. Fast, up-tempo, beat-the-hell-out-of-the-drums, because that's my style. Energy, but sophistication, rhythmically and melodically.

I seldom play in a trio, but acoustic music is likely to be lighter, quicker, and quieter.

For me, music always leads. Lyrics are only about how they sing. It is wonderful if they read well, too. In the very best scenario, sometimes a lyric will pop out with a melody, simultaneously. That's a lovely thing, but you can't rely on that.

No, but a cello is the perfect string bass for an accordion. Works with it beautifully.

If you want to make beautiful music, you must play the black and the white notes together.

In or orchestra we have many nationalities, types, and temperaments.

I love songs with, like, six or seven or eight different things going on at once, and that's just me.

It's really hard for me to sing and play bass. Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.

I had this big thing about guitar harmonies. I wanted to be the first to put proper three-part harmonies onto a record. That was an achievement.

Somewhere between this kind of cruising freedom, and this understated moment where all these little things intertwine to create a bigger sound. You don't want one thing to be bright, or too prevalent.

It's fun singing with other people who are really good singers. There's something kind of poignant about braiding a couple vocals.

It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.

Counterpoint is difficult. I have been doing it since the beginning of my career. But it is not just taking any opposite. It is finding the right opposite.

The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.

With Crazy Horse, it's all one big, growing, smoldering sound, and I'm part of it. It's like gliding, or some sort of natural surfing.

Same thing with harmonies. If you hear something that harmonically is interesting, express it. So that's what I'm saying about talking the music rather than just playing through.

The Northern idea of form is more of a process. The various units of the form overlap. You can't tell where some things stop and new things start. This is typical of Sibelius.

I like it when two sounds complement each other but are way different on a record.

I think that it is always hard to find two voices that fit together well.