Luis Fonsi Quotes

There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.

I always start with the music and then try to figure out what I want to write about lyrically.

I've always thought of music as something which gives the words their flight and their wings and the music often comes first, although sometimes I'll have a concept, a title idea, a lyric idea that I want to write and the lyric will come first.

When I write a song, I always start on acoustic guitar, because that's a good test of a song, when it's really open and bare. You can often mislead yourself if you start with computers and samples and programming because you can disguise a bad song.

We start a lot with melodies and instrumentation and trying to figure out good melodies for verses and choruses. We get to lyrics sometimes second, so we'll start humming a melody, finding something, and see where the music takes you as far as lyrics are and what you want to say and go from there.

I find it harder to write the lyrics afterwards because then you're just trying to fit them into something that's already there.

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.

Finding fresh song topics can sometimes be quite difficult.

I don't write poetry and then strum some chords and then fit the words on top of the chords.

I always try to write a song, I never just want to write a record.

Every song, the title dictates the architecture of the song.

Songwriting is something that's very daunting until you have your first successful song, I think.

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

Usually when I write a song, I'll write the music and then kind of fit some words to it.

The goal is always just to write the best song that you can write. I mean, the process for writing a song is the process for writing a song. It's not something I look at it as something I need to do something different.

Sometimes I'll come up with a lick that I really love, and I'll try to put the right words to it for years. Suddenly something comes to me that works just right.

With 'Light,' I collaborated with a lot of different producers and musicians I respected, and we all wrote and worked on material which I then took to an old-school producer, David Kahne, and we put it all together. The lyrics came first - they were written before the music.

'Chandelier' took, like, four minutes to write the chords, then, like, 12-15 minutes to write the lyrics. Probably 10 or 15 minutes to cut the vocals.

I did co-write 'Moment of Forever' with Danny Timms. He wrote the melody, and I just did the words.

There's two things that are tough when you're trying to be a songwriter: Number one is, how do I write a great song? The second thing is, how do I write a great song that's right for me?

I bring up 'The Heist,' and you can almost cut that record down the middle between songs where the beat came first and the words came second, and songs where the words came first and the beat came second. It can start with a vibe, a beat that drives a story, or it can start with a story and then trying to identify the tone to tell that story right.

I always start with writing vocal melodies before writing lyrics.

Of course, you can't teach songwriting. You can only encourage people to do it and help them to sort out for themselves what they want to achieve, and get a list of exercises together that improves the craft and gives them more access to the craft of writing good songs.

You work very hard on the lyrics. Getting them to fit the contours of improvised melodies.

I'll get a few words and then go back to the music and then back to words, and play them off each other - and then I'll bring the song to the band.