A Quote by Jherek Bischoff

The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
Usually when you're playing with other people in not such a reverberant room, you have to be quick on your feet and think about stuff really quickly. But inside the cistern, it was almost like I was at home on my computer arranging and taking time thinking about the next step, the next note. Instead, the room was my collaborator. I could hear the note and sit there and think. I could be arranging as I was going in real time, which was fascinating.
For a second we just stand there in silence. Then, suddenly, Alex is back, easy and smiling again. “I left a note for you one time. In the Governor’s fist, you know?” I left a note for you one time. It’s impossible, too crazy to think about, and I hear myself repeating, “You left a note for me?” “I’m pretty sure it said something stupid. Just hi, and a smiley face, and my name. But then you stopped coming.” He shrugs. “It’s probably still there. The note, I mean. Probably just a bit of paper pulp by now.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
God picks up the reed-flute world and blows. Each note is a need coming through one of us, a passion, a longing pain. Remember the lips where the wind-breath originated, and let your note be clear. Don't try to end it. Be your note.
Don't add people to your subscriber list just because they once wrote you a note. Or once answered a note you wrote to them. Don't put your address book into your newsletter database. Let your readers sign up.
I can start playing ukulele and then I'll go to a note that I think will be there, but because of the tuning, it's a completely different note. That excites me. That's why I had the ukulele around in the first place, years ago. It was to just break out of habits.
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
I only have one note, let's be honest. But I'll play a different version of that one note.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
I've heard stories of pickup bands that can't follow, but here's the thing: If you want to play with Chuck Berry, you listen to his greatest hits and learn the format of the songs, but don't try to play it note-for-note.
In jazz improv, there is no such thing as wrong notes, only notes that are better chosen and it's not about the note you play, it's about the note you play next.
The only planning I do is about a minute before I play. I desperately try to think of something that will be effective, but I never sit down and work it out note for note.
It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.
Lilly was not crazy. She left a serious suicide note. 'Sorry,' said the note. 'Just not big enough.
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