A Quote by Cassadee Pope
I still struggle with my low notes. It's just always been something for me: I'm not a low singer. I have a really high voice.
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I had a hole in my voice. I still do. We call it a hole, but it's an area in the voice where it's air. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in the middle area, it was really hard.
If I have a song where I hit some really high notes, I want to try to bring in equivalently low notes somewhere in there.
A guy said to me one time, something really profound, and it's so simple. It's that depression lies. It's a liar and you have to shut it down. There is nothing that alleviates it more than going out and doing something for someone else. It's almost like instant healing. Get away from yourself. People can't even get out of bed and it gets really severe. I've never been at that stage. Everyone goes through low and high and low and high and some people are blessed to be created on an even keel all the way through - but not me.
They say for every high high there must be a low low low low low
I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.
The Bassbone is just what I have been looking for... I can maintain the integrity of two instruments on stage or in the studio with control over the balance and keep my high standards for my low notes!
I don't think I'm a singer that likes to flex my vocals. I'll do some runs and a bunch of high notes, but that's it. I really pride myself and I really work on just trying to sing. Like emotions. Just using my voice, not doing anything extra.
The best poker game is seven-card stud, high-low splits. I mean, it's the best if you don't have to declare high or low, and can win it all with a low straight.
It is safer to try to understand the low in the light of the high than the high in the light of the low. In doing the latter one necessarily distorts the high, whereas in doing the former one does not deprive the low of the freedom to reveal itself as fully as what it is.
I was short and I had a really high voice, and now my voice is low and I'm tall.
The job is always with you, 24/7. I played over 400 games as a player and the highs aren't as high when you win and when you're a player the low isn't as low when you get beaten. It really spikes and dips as a manager.
Who am I, if I'm not this singer with big high notes? I identify with my voice. But I'm more than just the acrobatics.
You would have thought that as you got older the voice would tend to deteriorate in some ways, but I always look at somebody like Tony Bennett, who is my senior, and still can hit those high notes and still can belt it out as good as he ever did. So it must be something about the voice that's unlike the rest of the muscles in your body.
China should have a currency which is a much higher value relative to the dollar and other things. What they're doing is keeping it low, artificially low. And I mean seriously artificial. I don't just mean a little bit low. I mean major low.
I remember when that Kelis song 'Milkshake' came out, and just how extreme it seemed in terms of that really high triangle part and then the really low subs and then her voice in the middle.
Buy low and sell high. It's pretty simple. The problem is knowing what's low and what's high.
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