A Quote by Fabio Frizzi

Bixio-Frizzi-Tempera was a real co-operative team. My first instrument was the guitar, Tempera played piano and keyboards, themes were composed sometimes by one, sometimes by the other, sometimes together.
Music has always been in my family, but it was mainly keyboards. I learned to play classical piano, but when I first heard the amazing bass guitar of James Jamerson, who played on all the big Motown hits of the '60s and '70s, I knew bass guitar was my instrument.
I normally write on acoustic guitar, although piano is the instrument that I actually studied. Occasionally, I'll write on the piano or sometimes with no instrument at all.
So sometimes things are ahead and sometimes they are behind; Sometimes breathing is hard, sometimes it comes easily; Sometimes there is strength and sometimes weakness; Sometimes one is up and sometimes down. Therefore the sage avoids extremes, excesses, and complacency.
I spent three seasons at Benfica looking to be in the first eleven. Sometimes I got in and sometimes I didn't. Sometimes injuries denied me. Sometimes the strikers who were in my position, they were scoring and scoring so it was difficult to play.
We played in bars and other such establishments and anywhere where people would listen. Sometimes they did, and sometimes not. The outfits we wore were classics of the 50's.
My first instrument is piano, I play some piano and guitar. So my solo music is more like real singer/songwriter type stuff.
Barcza is the most versatile player in the opening. He sometimes plays P-KKt3 on the first, sometimes on the second, sometimes on the third, and sometimes only on the fourth move.
The thing about playing percussion is that you can create all these emotions that can be sometimes beautiful, sometimes really ugly, or sometimes sweet, sometimes as big as King Kong and so on. And so there can be a real riot out there, or it can be so refined.
When we first started and started hitting new places for the first time, you kinda didn't know, because we were new. Sometimes we played tiny little clubs and sometimes we'd play a larger place.
I am surprising myself [at] each show, and the delivered piano often surprises me. Sometimes the piano is so old that I don't have to prepare it, and sometimes I have a concert grand!
In TV, you look to make characters consistent, but in real life, we're not consistent. Sometimes we're brave, and sometimes we're not. Sometimes we're very aggressive, and sometimes we back right down.
You put together two people who have not been put together before; and sometimes the world is changed, sometimes not. They may crash and burn, or burn and crash. But sometimes, something new is made, and then the world is changed. Together, in that first exaltation, that first roaring sense of uplift, they are greater than their two separate selves. Together, they see further, and they see more clearly.
To create anything โ€” whether a short story or a magazine profile or a film or a sitcom โ€” is to believe, if only momentarily, you are capable of magic. These essays are about that magic โ€” which is sometimes perilous, sometimes infectious, sometimes fragile, sometimes failed, sometimes infuriating, sometimes triumphant, and sometimes tragic. I went up there. I wrote. I tried to see.
Sometimes they were together so often that it felt as though they really were a couple; sometimes weeks and months would go by before they saw each other. But even as alcoholics are drawn to the state liquor store after a stint on the wagon, they always came back to each other.
When you play in smaller places with a smaller symphony, sometimes there's a difference in quality. Sometimes it's murderous. Sometimes it's real torture. Other times, you get a wonderful surprise. But there's never a dull moment.
Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.
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