A Quote by Alan Watts
You must not be afraid of playing wrong notes. Just forget it, play it wrong! But play!
Related Quotes
The biggest thing is you cannot be afraid to miss the game-winning shot. It's not that you want to make it; it's that you're not afraid to miss it. You're not afraid to make a play and it go wrong. You have to have amnesia. You're not afraid to make a play and it go wrong.
I was born with the wrong sign
In the wrong house
With the wrong ascendancy
I took the wrong road
That led to
The wrong tendencies
I was in the wrong place
At the wrong time
For the wrong reason
And the wrong rhyme
On the wrong day
Of the wrong week
Used the wrong method
With the wrong technique
Wrong
Wrong.
Lee Morgan used to stand behind me when I was playing a ballad and he'd be hollering, "Play the pretty notes, man, play the pretty notes." I thought I was playing the pretty notes, but you know, things like that help you to reach a little further.
In jazz improv, there is no such thing as wrong notes, only notes that are better chosen and it's not about the note you play, it's about the note you play next.
We [ Paverment] were definitely unafraid of playing wrong notes and singing wrong things. We could be fearlessly bad!
Conceptually, I am open to mistakes - errors, actually. I do play lots of wrong notes while I am making some music, and a mistake or a wrong note is like a gift for me: 'Oh, wow, an unknown sound or an unknown harmony. I didn't know about this.'
The best thing I ever did was when I was offered a million dollars to go play in South Africa and didn't take it. I was 21 years old, and part of it was like, 'Well, if they're offering me this obscene amount of money just to play one match, there must be something really wrong.'
Love is like playing the piano. First you must learn to play by the rules, then you must forget the rules and play from your heart. If I were pressed to say why I loved him, I feel that my only reply could be: Because it was he, because it was I.
Once you start to play together, vibing off each other in the scene, it's not just the notes - it's the music. The script might be the notes playing, but we're making it music.
Just as it is wrong to work on chess by studying only the first 10-15 moves, so it is wrong to play one and the same opening system, even though it be rich in variations and nuances.
I must tell you I take terrible risks. Because my playing is very clear, when I make a mistake you hear it. If you want me to play only the notes without any specific dynamics, I will never make one mistake. Never be afraid to dare.
There are no wrong notes in jazz: only notes in the wrong places.
When we play, we sense no limitations. In fact, when we are playing, we are usually unaware of ourselves. Self-observation goes out the window. We forget all those past lessons of life, forget our potential foolishness, forget ourselves. We immerse ourselves in the act of play. And we become free.
Nobody taught me to play bottleneck. I just saw it and taught myself. I got an old bottle and steamed the label off, put it on the wrong finger, I basically did everything wrong until I met some of the Blues legends early in my career who taught me another way. I didn't have anyone to tell me women didn't play bottleneck.
If one wants to be active, one must not be afraid of going wrong, one must not be afraid of making mistakes now and then. Many people think that they will become good just by doing no harm -- but that's a lie.... That way lies stagnation, mediocrity.
The melody is the most important thing that must stay in the minds of the people who listen to you. No matter how many notes you play, you can't let them forget what the song is.
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