A Quote by Ben Kingsley
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
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The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
That's the power of music, a key sequence or a chord sequence or even a note can do something to you physically that's uncontrollable.
I make singers sing every note fully and wait till they hit the right note.
God picks up the reed-flute world and blows. Each note is a need coming through one of us, a passion, a longing pain. Remember the lips where the wind-breath originated, and let your note be clear. Don't try to end it. Be your note.
The way that words mutate reminds me of fashions in music. The word--the note--is a constant. But the setting and chord in which it occurs alters with the mood of a nation from major to minor, from the assertive to the mournful and foreboding.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
Beethoven said that it's better to hit the wrong note confidently, than hit the right note unconfidently. Never be afraid to be wrong or to embarrass yourself; we are all students in this life, and there is always something more to learn.
My driving philosophy about making music is that you can reduce it all down to one note if that note is played with the right kind of sincerity.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
If I have to hold a note for a long time, I imagine it as moving and spinning, for the note has to have life. In a way, a singer actually refreshes a note with every beat that it's held.
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
People say I'm a one-note actor, but the way I figure it, those other guys are just looking for that one right note.
I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
For a second we just stand there in silence. Then, suddenly, Alex is back, easy and smiling again. “I left a note for you one time. In the Governor’s fist, you know?” I left a note for you one time. It’s impossible, too crazy to think about, and I hear myself repeating, “You left a note for me?” “I’m pretty sure it said something stupid. Just hi, and a smiley face, and my name. But then you stopped coming.” He shrugs. “It’s probably still there. The note, I mean. Probably just a bit of paper pulp by now.
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