Music Structure Quotes

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

Songs have some kind of structure that connects with people's hearts.

Music really does just boil down to basically, essentially songwriting chords and melodies.

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.

There's a big gaping hole in the EDM space for songwriting. It's one thing to learn how to be a great sound designer and become big just on sound design. Especially if you're in the dubstep category, it's like, how much fatter and more interesting can you make those drops.

I like hooks and choruses, things people can sing to.

'6 Weeks' is broken up into two sections; both sections use the same set of samples, just in different ways.

A song without a hook is like a train without rails. It skitters all over the place, bangs into everything. Boom! Crash! There goes Grand Central Station. Crushed by a train.

In writing music, the structure of each piece is a very important factor.

I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.

Most blues guitar players don't concentrate on singing and melodies. And forget about the bridge - the bridge doesn't exist. They go straight for the solo.

I like songs that go to different places and then come back.

It would be nice to abandon the verse-chorus-bridge structure completely, and make it so none of these things are definable. ... Make up new names for them. Instead of a bridge, you can call it a highway, or an overpass. ... Music should never be harmless. ... I remember from my earliest years, people speaking, you know, in a certain kind of rhythm and telling stories and sharing experiences in a way that was different in Indian country than it was other places. And I was really struck by this and obviously very affected by it, because it's always come out in my songs.

A lot of people pretty much only listen to the chorus.

Country music especially can get very formulaic - you know, you have to have your verses and a bridge and a chorus, and a lot of the songs are written as just plain and simple poetry on the road.

Most game music is based on loops effectively.

Only a tiny portion of music history involves a singer and a lyric. Songs in music are generally thought to be a minor form.

Too many pieces of music finish too long after the end.

Take '39 Steps'. When I finished writing it, I counted the number of measures in the composition. I always do this because I am interested in the length of a song. So I counted this one a couple of times because 39 is an unusual number of measures for a song.

My vocation is more in composition really than anything else-building up harmonies using the guitar, orchestrating the guitar like an army, a guitar army. ... I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened. ... I always believed in the music we did and that's why it was uncompromising. ... I don't think the critics could understand what we were doing.

When I did the first 'Oxygene' in the vinyl days, I had a structure in mind divided in 2 parts fitting the A&B sides of an album.

As a writer, I find it very satisfying when a lyric suddenly ties together more neatly than you expected it to. But for the listener, hearing a good lyric is not generally as exciting as hearing a great beat or a great riff or a great melody or even a distinctive singing voice for the first time.

The turnaround is when you have a solo in betwixt the verses. You stoppin' to have a solo.

I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there.

I'm very easily influenced, and I'm also a quick study, so I think when I decided I wanted to write pop songs, I literally just listened to pop radio for six months to get a feel for it and understand it.