A Quote by Dave Matthews
When I listen to my favorite songwriters, they have such simple melodies and chords. I occasionally manage to stop at the right time, but all too often I keep on going until I have way too many notes and words. But that's just what I do.
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Too many commercials. Too many lies. Too many celebrities. I don't recognize. Too many brand names. Too many magazines. I got so much sensation, I can't feel a thing. Simple. Living. Got to get to simple - living. Simple living. Simple... simply living.
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.
There's too many favorite songs, so I'll just say right now my favorite song of all time is 'Poison' by Bert Jansch.
I was just so nervous every time I was onstage. It took me many, many years to get to the point where I realized, 'All right, if I'm going to keep doing this, I've gotta remember that it's supposed to be fun. I've gotta stop putting so much pressure on myself, because otherwise, it's not worth it.' And I still am too critical of myself.
It is often too easy to explain a novel idea to a few enlightened persons with a few words. But to enlighten about the same to many people, too many words are often required
I always laugh when I listen to my old stuff. I was just trying way too much back then. Doing too many harmonies and too many runs and all the crazy stuff. Rapping all funny and animated.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
I've always felt that when you use too many products or try too many new things, you're just piling a lot of unnatural, unnecessary stress on your face. I try to keep it simple.
And in a world where we have too many choices and too little time, the obvious thing to do is just ignore stuff. And my parable here is, you're driving down the road and you see a cow, and you keep driving 'cause you've seen cows before. Cows are invisible. Cows are boring. Who's going to stop and pull over and say, oh, look, a cow? Nobody.
There, in the chords and melodies, is everything I want to say. The words just jolly it along. It's always been my way of expressing what, for me, is inexpressible by any other means.
There, in the chords and melodies, is everything I want to say. The words just jolly it along. It's always been my way of expressing what for me is inexpressible by any other means.
He had a word, too. Love, he called it. But I had been used to words for a long time. I knew that that word was like the others: just a shape to fill a lack; that when the right time came, you wouldn't need a word for that any more than for pride or fear....One day I was talking to Cora. She prayed for me because she believed I was blind to sin, wanting me to kneel and pray too, because people to whom sin is just a matter of words, to them salvation is just words too.
When life tends to get too complex, too fast, too cluttered, too deadline oriented, or too type A for you, stop and remember your own spirit. You're headed for inspiration, a simple, peaceful place where you're in harmony with the perfect timing of all creation.
The highest activities of consciousness have their origins in physical occurrences of the brain, just as the loveliest melodies are not too sublime to be expressed by notes.
As time has gone on I've felt less and less need to play too many notes. That's something you do when you're younger, you play far too much and too fast.
I play until my fingers are blue and stiff from the cold, and then I keep on playing. Until I'm lost in the music. Until I am the music--notes and chords, the melody and harmony. It hurts, but it's okay because when I'm the music, I'm not me. Not sad. Not afraid. Not desperate. Not guilty.
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