A Quote by Caroline Shaw

I've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.
I think now happiness is a thing you practice like music until you have skill in striking the right notes on time. We have no vocation for it. And I had no practice, not a day when I was free from care and one great anxiety - and one must be free to be happy. I know that much about it by having missed it.
I take a lot of notes. Maybe it's a product of me taking so many notes, but I have a pretty good memory for episodes, and some of the other actors will ask me questions about things, so I have this sense of responsibility that I have to be the one to remember some of the details.
A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by playing too many notes with the left hand.I hear a lot of players running whole scales from the sixth string to the first , and playing them really sloppy.Keeping it very basic-and using only a few notes-and playing slowly with perfect rhythm is a task in itself.
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.
We're living in a time when pretty much anything can happen in the music world. There are a lot of musical languages in which people work. When I think of common practice I think back to the time I was studying the flute, where I learned that in the Baroque period many things were not notated, since they were understood - that was because of common practice.
It can be insulting to an actor when the director comes out, and they have no notes on the performance, and all they care about is that the camera has to do this one technical thing.
It was hard to become an astronaut. Not anywhere near as much physical training as people imagine, but a lot of mental training, a lot of learning. You have to learn everything there is to know about the Space Shuttle and everything you are going to be doing, and everything you need to know if something goes wrong, and then once you have learned it all, you have to practice, practice, practice, practice, practice, practice, practice until everything is second nature, so it's a very, very difficult training, and it takes years.
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.
I hope to refine music, study it, try to find some area that I can unlock. I don't quite know how to explain it but it's there. These can't be the only notes in the world, there's got to be other notes some place, in some dimension, between the cracks on the piano keys.
Composer” is a word which here means “a person who sits in a room, muttering and humming and figuring out what notes the orchestra is going to play.” This is called composing. But last night, the Composer was not muttering. He was not humming. He was not moving, or even breathing. This is called decomposing.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
We're sitting in here, and I'm supposed to be the franchise player, and we in here talking about practice. I mean, listen, we're talking about practice, not a game, not a game, not a game, we talking about practice. Not a game. Not, not... Not the game that I go out there and die for and play every game like it's my last. Not the game, but we're talking about practice, man. I mean, how silly is that?.. And we talking about practice. I know I supposed to be there. I know I'm supposed to lead by example... I know that... And I'm not... I'm not shoving it aside, you know, like it don't mean anything. I know it's important, I do. I honestly do... But we're talking about practice man. What are we talking about? Practice? We're talking about practice, man.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
Notes on 'Camp' talks a lot about homosexuality and androgyny and performance and a false seriousness, nit-picking the trivial things and making them funny. And that's exactly what drag does. Reading through the entire essay I couldn't help but relate all of it back to drag.
In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.
I think we as Americans know there's a much better alternative than the 17th century practice of burning rocks to power our economy.
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