A Quote by Bryce Dessner

When working with classical musicians, it is important to be clear as possible in the score about what my intentions are. Because there isn't a lot of rehearsal time, especially at the ballet, it's best if everything is written in the score.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
Victor Young had been hired to write the score for the dances of The Ten Commandments but he became very ill. You were then hired to write the score. But at the same time you'd written The Man with the Golden Arm score.
Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.
When I grew up, I tried to score off every ball, be it a 10-over-match, a 20-over, or even a Test match. If I stay in the wicket for, say, about 30 minutes, I want to make the most of it and score maximum runs possible. You never know when you get out; try to score as much possible before that.
I don't go out and just try to score. I score because there is an opportunity to score.
I'm a very technical player, a striker who moves around the field a lot. I'm technical, I score lots of goals, and I like to score as many goals as possible. They are my best qualities. I also header the ball very well.
As a point guard, you don't really have to score. The only time you have to score is when you have to score.
To me, score is really important. I would rather not have any score if it's something that's going to detract from the film. So often when I watch films, the score is what really bothers me.
Maybe other managers would see their team score one goal and then prefer to go back and counter-attack, then try to score the second goal. A lot of those managers are the best managers at the moment, but for me, it's very important to continue the way I play.
I don't pick tournaments to score or rivals or other teams to score against. I'm a striker: every game I play, I want to score.
When I'm making a new ballet, I usually read through the score a little bit, and then I have to go back and translate or transcribe all the counts for dancers because the way that you hear it is completely different from the way the musicians read and play it.
It's really important to score for a new club early on; when you come in and score right away you feel much better.
I prefer live musicians whenever possible. And I tailor the ensemble to what is appropriate for the film and the score I'm writing.
Half of the time, it's about winning, but as a receiver, you do want to score touchdowns. I do want to score.
I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.
If it's a real bad score, then it can ruin a movie for me, or, at least, it will draw a lot of my attention to the score.
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