A Quote by James Galway
By the time I got to the Paris Conservatoire I was very good at the scales and arpeggios.
Related Quotes
You can sightread better if you know your scales and arpeggios.
I practice more than ever ... mostly scales and arpeggios ... and anything I can't do.
The concept is basically; that the pieces we know and love are made up of scales, arpeggios, and the like.
She did not suddenly start being disagreeable this afternoon, she was so good at it, she had evidently practised whatever are the scales and arpeggios of rudeness every day of her life.
Don't get stuck in a rut. If you started yesterday's practice playing arpeggios, start today's with scales. Also, try to make a song out of what you're practicing to help break the tedium.
Before you can apply chromatic ideas to scales and arpeggios, you have to get the chromatic scale itself under your fingers. You should learn it up and down the neck, and become comfortable with the fingerings.
I've learnt new scales through playing different types of music, like Indian raga scales, gipsy scales and harmonically-based jazz scales.
I came from a Conservatoire background where the idea of complexity was very much bound up with good music - good music was seen as complex and difficult to understand.
Eric Clapton's scales - when he comes off a high note and it's time for a refrain or a little bit of a rest, he peals off scales going downwards that are so good it's unbelievable.
I studied as an actor at the theatre conservatoire in Quebec, but by the time I got to my third year, I was more interested in directing. There's more to it than helping actors get round a stage: it's a wonderful way of telling stories.
I practice all the scales. Everyone should know lots of scales. Actually, I feel there are only scales. What is a chord, if not the notes of a scale hooked together?
Hassan N'Dam is a very good fighter, he's very experienced and been around a long time. He's got good footwork, very good movement.
Paris is not so square. I'm not good at the geography of the city in Paris, so I'm always lost. Here, in New York, you can never be lost. In Paris, even when I walk to my gallery or whatever, I always take another route, because Paris is not built that way.
In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record (The Freewheelin' Bob Dylan) from a French DJ. For three weeks in Paris we didn't stop playing it. We all went potty about Dylan.
To us large creatures, space-time is like the sea seen from an ocean liner, smooth and serene. Up close, though, on tiny scales, it's waves and bubbles. At extremely fine scales, pockets and bubbles of space-time can form at random, sputtering into being, then dissolving.
Every time I look down on this timeless town Whether blue or gray be her skies. Whether loud be her cheers or soft be her tears, More and more do I realize: I love Paris in the springtime. I love Paris in the fall. I love Paris in the winter when it drizzles, I love Paris in the summer when it sizzles. I love Paris every moment, Every moment of the year. I love Paris, why, oh why do I love Paris? Because my love is near.
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