Sometimes I just start humming something, find a melody I like a lot, and if it sticks around for a couple days, a few words will lock themselves into place. I might just get the first line. Then words just keep falling into the syllables. The choruses kind of write themselves and verses I have to work at a little bit.
I'm fortunate in that I've grown up in a worshipping tradition which is quite rich musically (and music is very important to me) and has a wonderful resource of hymns from all sorts of different parts of the Church... and to go to church and be able to sing that stuff and listen to a Bach motet or indeed some charismatic choruses.
N. T. Wright
Where had they all gone to, he often pondered; those threads he had once held together, how far had they scattered, some to break, others to weave into unknown patterns? The strange randomness of the world beguiled him, that randomness which never would, so long as the world lasted, give meaning to those choruses again.
I think a lot of the writing, you know, I write is just kind of like that where, you know. I write exactly how I'm feeling sometimes, and hardships that I'm going through. But I always end up, like the choruses are like, "God, You are good. God, you're faithful. You know, I know You understand, You're right here by my side." All these different things. And I just say very personal experiences that I've been through. I mean, it's not always detrimental thing.
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.
With rock music, it usually revolves around the band. You go in as a band and probably take about a year to record an album. But for a hip-hop song, you can create a track and an idea with verses and choruses in a day, and get three different people on it. It seems like you're able to do more with hip-hop.
His (Swami Vivekananda) words are great music, phrases in the style of Beethoven, stirring rhythms like the march of Handel choruses. I cannot touch these sayings of his, scattered as they are through the pages of books, at thirty years' distance, without receiving a thrill through my body like an electric shock. And what shocks, what transports, must have been produced when in burning words they issued from the lips of the hero!
There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability.
How can we accept a situation in which there are no longer orchestras, choruses, libraries or art classes to nourish our children? We need more support for the arts, not less -- particularly to make this rich world available to young people whose vision is choked by a stark reality. How many children, who have no other outlet in their lives for their grief, have found solace in an instrument to play or a canvas to paint on? When you take into consideration the development of the human heart, soul and imagination, don't the arts take on just as much importance as math or science?
So-called real life has only once interfered with me, and it had been a far cry from what the words, lines, books had prepared me for. Fate had to do with blind seers, oracles, choruses announcing death, not with panting next to the refrigerator, fumbling with condoms, waiting in a Honda parked round the corner and surreptitious encounters in a Lisbon hotel. Only the written word exists, everything one must do oneself is without form, subject to contingency without rhyme or reason. It takes too long. And if it ends badly the metre isn't right, and there's no way to cross things out.
My favorite song he ever wrote was 'Cold Cold Heart.' If you think about it, the lyric to 'Cold Cold Heart,' see how many two syllable words are in that song. Very, very few. ... Verses and the choruses have very few two syllable words. 'I tried so hard my dear to show that you're my everything.' One three-syllable word.
Your call is clear, cold centuries across; You bid me follow you, and take my cross, And daily lose myself, myself deny, And stern against myself shout 'Crucify'. My stubborn nature rises to rebel Against your call. Proud choruses of hell Unite to magnify my restless hate Of servitude, lest I capitulate. The world, to see my cross, would pause and jeer. I have no choice, but still to persevere To save myself - and follow you from far, More slow than Magi-for I have no star. And yet you call me still. Your cross Eclipses mine, transforms the bitter loss I thought that I would suffer if I came To you- into immeasurable gain. I kneel before you, Jesus, crucified, My cross is shouldered and my self denied; I'll follow daily, closely, not refuse For love of you and man myself to lose.
John R.W. Stott