A Quote by Charlie Parker
I could hear it sometimes, but I couldn't play it. I'd been getting bored with the stereotyped changes that were being used. I found that by using the higher intervals of a chord as a melody line and backing them with related changes, I could play the thing I'd been hearing.
Related Quotes
I'd been getting bored with the stereotyped changes (harmonies) that were being used all the time. I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.
I got bored with the old way - it came too easy. I worked until I could play and chord changes at any tempo in any key, and then said 'What else is there?' Now I'm finding out.
They would always be a family, but if she'd learned anything in the past few weeks it was that a family wasn't a static thing. There were always changes going on. Like with continents, sometimes the changes were invisible and underground, and sometimes they were explosive and deadly. The trick was to keep your balance. You couldn't control the direction of your family any more than you could stop the continental shelf from breaking apart. All you could do was hold on for the ride.
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
Since I've been five, people asked me if we're related. It is usually the third question in the line of questions. What's your name? Sue Bird. Oh, what do you do? I play basketball. Are you related to Larry Bird? That's how it goes. I guess it could be worse, though, since he is a legend and all.
I could play a cop, I could play a crook, I could play a lawyer, I could play a dentist, I could play an art critic-I could play the guy next door. I am the guy next door. I could play Catholic, Jewish, Protestant. As a matter of fact, when I did The Odd Couple, I would do it a different way each night. On Monday I'd be Jewish, Tuesday Italian, Wednesday Irish-German-and I would mix them up. I did that to amuse myself, and it always worked.
You live through the play at 8 o'clock, straight through, and nobody can call "Cut!" But also with the stage you're getting instant reactions. You hear people snoring in the audience, and bored to tears, or sometimes you hear the laughter, and you can hear them listening.
This is my second bass that Paul built me. There were some changes that were made. Sometimes I think of changes that could be made having to do with both the sound and the feel. It's definitely a beautiful instrument.
If an actor or actress is recognizable, that changes our perception of them. Sometimes you can play against type, or you can just repeat what they've already done. It can be an obstacle; it's a very fine line.
A lot of it starts with playing instruments and working with other people. Some of the new generation is doing it on computers and they don't have a clue as to how to play anything. That's probably one of the problems. They don't know how to make the melody, go through the chord changes. They're not starting from that same school of thought.
Using clothes to transform was a huge part of my childhood. But also, I've been acting forever, and wardrobe changes the way you feel, so it totally indicates the character you're going to play.
The cool thing about being in drag, just like getting to play a role in a play, is that you get to play a fantasy and you get to play someone else that you're not used to.
I never heard anything so brilliant in my life as I did that first time I heard Ornette. He played like some revolutionary angel. Soon, we were rehearsing in his place, music scattered everywhere, and he was telling me to play outside the chord changes, which was exactly what I had been wanting to do. Now I had permission.
We were on a tour, and there were some chord formations that were tough for me to play when I was a kid...it had become apparent that there was some stuff I wanted to do that [would require me] to learn how to do that. So I wrote the song and used some of these chord formations so I would have to play them. I thought it would be a great teaching vehicle for a while, and it was, but it ended up as a performance song.
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