A Quote by Joe Pass
If you hit a wrong note, then make it right by what you play afterward.
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Beethoven said that it's better to hit the wrong note confidently, than hit the right note unconfidently. Never be afraid to be wrong or to embarrass yourself; we are all students in this life, and there is always something more to learn.
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
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.
I make singers sing every note fully and wait till they hit the right note.
If you don't take no chances, then you're not a performer. Performers always take chances. You go see a singer, they'll hit the high note. They'll hit that note, they're not afraid, they're gonna exaggerate the fact and make me enjoy it, make me say, 'Wow, I wish I could do that!
If you don't take no chances, then you're not a performer. Performers always take chances. You go see a singer, they'll hit the high note. They'll hit that note, they're not afraid, they're gonna exaggerate the fact and make me enjoy it, make me say, 'Wow, I wish I could do that!'
Then "wrong" is right, and "right" is wrong! Yet I'll tell you this, to help you out of your dilemma: believe nothing I say. Simply live it. Experience it. Then live whatever other paradigm you want to construct. Afterward, look to your experience to find your truth.
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.
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.
You could make your fingers reproduce exactly what you felt, if you really worked at it. I achieved it, not only spending a lot of time at the keyboard but finding ways I could make my fingers reproduce my deepest feelings. It meant, when you hit a note with a finger, you sank into that note all the way to the bottom of the keyboard until it went pow! Right?
In music, if you hit a wrong note, people forgive you. In magic when something goes wrong, the entire art is destroyed.
If I can hear the music then no, I don't hit a wrong note. But if I can't hear the music because the audience is screaming or the sound system is bad, then I'm subject to stray.
Lots of kids when they get their first instrument hammer away at it but they don't realise there are so many levels of dynamics with a guitar. You can play one note on a guitar and it really gets to people if it is the right note in the right place played by the right person.
Audiences trust Westerns when you hit the right tone. I think they're not in vogue, but they will always be in vogue when you hit the right 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.
People love the electric rake. You just hit it or whatever you want to do. You can't play 'Swanee River' on it. You have to just make terrible noise. Occasionally, it will make a sound like a note.
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