Edgard Varese Quotes

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool. On paper, though, it's all stripped back. The musical idea is the one that wins.

I know melody. I know rhythm; I know bass guitar; I know the piano. I know everything about music that helps build the music that go along with creating the whole art form, you know what I'm saying?

Music is organized sound.

By giving the public a rich and full melody, distinctly arranged and well played, all the time creating new tone colors and patterns, I feel we have a better chance of being successful. I want a kick to my band, but I don't want the rhythm to hog the spotlight.

I like the power and versatility of a big band and how an orchestra can vary the dynamics from very loud to very quiet, and SNJO covers those bases.

I equate composing with orchestrating. I think my music in terms of an orchestra.

Music is about textures as well as melody.

I love plays that have musical moments. I'm not a big fan of musicals per se, but I love straight plays that have musical edges to them. I don't know if I will ever be able to structure a musical, but 'Finer Noble Gases' is as close as I've gotten.

I aim my arrangements at what will fit and colorfully frame the song in the best way possible.

We knew we wanted to put a lot of melody into it - a lot more than what we did on our first album.

You hear it in your brain. Whatever makes sense. Some songs work well as quartet songs, sometimes they don't.

Music in this film is a very important part.

It's all about theme and development anyway. That's what music is about.

Music is beautiful. Yes, music is great. My music's great.

I love music more just in and of itself. I love harmony and rhythm.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble. I don't only listen to the guitar player.

I can't be enthusiastic as soon as I write something on the music sheet. The music sheet is only the beginning: it has to be listened to, played by the instruments, and then heard by the director, but most importantly, it has to be listened to by the public.

Every orchestra has its own sound.

There's more to music than just words over tracks.

Most things that I write are in very specific forms. A score will have a shape and profile, and then the more emotional and intimate moments will come.

Sometimes it takes us a long time to build up songs, and we really work the structures over and over and build in lots of noisy parts.

I don't play any instruments. I don't produce. I don't know which keys or chords I am using, so, in essence, I need the band and the production team - otherwise, I am just some guy with a hat and a song.

For an artist, there's nothing better than working with an orchestra.

I spend time editing and massaging each note. Then I start layering with different instruments, adding harmonies, counterpoint, and whatever the song calls for. Then I arrange it into a whole piece, and decide where I need to add live musicians. It takes a lot of time, but it is very satisfying once it is complete.