Gene Krupa Quotes

The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.

I think John Williams, him and his team, have been incredible orchestrators. By that, I mean how he chooses which instrument plays which note.

I always dreamed of writing in an orchestral context. But when you finish a piece, you want to hear it. So we played everything with Phish.

I consider myself a composer.

And there's always one special element. In 'There Goes My Baby,' it's the out-of-tune timpani. 'Stand by Me,' it's the bass pattern. Of course, all the elements come together to make a great record. But there's always one standout.

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.

I love working with an orchestra, but there are many ways to make music.

I started trying to do my own music at home, and I was like, 'You know what, I can play the guitar, sort of. And I can do these things, sort of. And I can make these crazy noises on my computer, sort of. But I need a ridiculously good drummer. I need someone to help me with string arrangements.'

When I think of Morricone, more than his using a specific instrument or a specific sound, it's his way of approaching music that sticks out.

Sometimes I write them down in musical notation as a trigger to remind me about certain directions to go. Or I can be specific about a sound I'm looking for.

I hear these melodies. I hear horn lines and string lines. That's what's fun about recording with an orchestra.

I love making music. I love being involved in arranging music. It's very natural to know what I want to hear next and come up with ideas that are variations of what might be good.

When I'm making music, I can hear all the parts, all the instruments. I can hear what it should be.

I can say, with a little arrogance, that I could be an actor, a cameraman, a writer, but composers are the most mysterious people.

I didn't start writing with band arrangements until I was working on 'Tramp.'

I'm a percussionist, so that's most of what I know when I attack a record. Melodically, knowing the keys - my first love - that makes the perfect blend.

I think, for me, a way to really come up with new ideas and come up with new ways of writing music is to create a unique sound palette or soundscape for all the films I'm working on.

I had a really pleasant time composing music for 'Raaga.'

The original 'Don't Let It Get to You' started with a beat. The drums came first. All the musical and lyrical elements were written over those drums.

Most films don't have a budget for a background score, but it is the toughest job to do. We work like donkeys. And usually we get only around a month to do a score.

When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.

My films are musically inclined.

I personally like melodies. And Mani Sharma garu is the Melody Brahma.

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

We really like having songs where we think the arrangement is just as important as the melodies, even though they're typically not.