A Quote by Evelyn Glennie
I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.
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I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
If you're going to play bass, then play bass how you play bass. You can learn technique and theory, but we want to hear what you have to offer.
Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
Obviously, a bass sounds like a bass and a guitar sounds like a guitar, but the way you play the guitar reflects your personality.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
Instead of the metaphor of scales in balance, I prefer the idea of a jazz quartet: you're trying to make music that feels and sounds good, and sometimes you only hear the trumpet or just the bass and piano. Sometimes all four are playing at the same time, but perhaps at different volume.
I play guitar, bass, drums, piano, and pretty much any sort of stringed instrument - besides violin or cello.
Cello is my first instrument, then piano, drums, bass, violin, recorder, saxophone, but I'd never play them live!
The range of the cello is so big, it can play as low as the double bass and as high as the violin. It has the perfect shape, and its sound is the closest to the human voice.
I can't really sing and play live, because I can't play bass efficiently and sing at the same time. If I concentrated on the vocals, I'd mess up the bass, and if I concentrated on the bass, I'd forget the lines.
When I was four, we had to choose a musical instrument to play at school, and I chose the cello. I played until I was 18, and although I found it nerve-racking to play solo, I loved playing in an orchestra. When I left school I didn't carry on with it, which I regret.
In the late 1600s the finest instruments originated from three rural families whose workshops were side by side in the Italian village of Cremona. First were the Amatis, and outside their shop hung a sign: "The best violins in all Italy." Not to be outdone, their next-door neighbors, the family Guarnerius, hung a bolder sign proclaiming: "The Best Violins In All The World!" At the end of the street was the workshop of Anton Stradivarius, and on its front door was a simple notice which read: "The best violins on the block."
Rhythms and sounds are often the first thing I hear and want in a poem, so I can't imagine trying to translate something without at least being able to hear what it sounds like.
The hardest instruments for women to play are bass and drums. Drums because of the physicality needed and bass just because its heavy and it's not an easy instrument to play.
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