A Quote by Kurt Elling

I've got more low notes than I had when I started. — © Kurt Elling
I've got more low notes than I had when I started.
You've got to know much more than the mere technicalities of notes. You've got to know sounds and what goes between the notes.
I always want to pick songs that are really crazy rangy, and sometimes those low notes aren't there. But I started taking it way more seriously after a certain point, and I started doing vocal warm-ups every day, even when I wasn't singing, sometimes twice a day.
Right now, my voice is better than ever. It changed. I have better low notes than I had before.
I had promised myself when I first got started that if I got to the point my life where I started feeling 'Gee, I'd rather be at home than at work', and that started happening more often than not, that it would be time to leave. I'd wake up some days and go "Oh, I don't even know if I want to go face this anymore". I would, I would go do it, I'm a dutiful kind of person and not afraid of work.
Had more confidence than I probably should have in high school. But I do remember feeling like I wish I could physically mature a little faster, fill out. In college it started to happen a little bit more, and my confidence started to grow - then I got out to L.A., and that got squashed immediately.
Note-taking is important to me: a week's worth of reading notes (or "thoughts I had in the shower" notes) is cumulatively more interesting than anything I might be able to come up with on a single given day.
Poets, on the face of it, have either got to be easier or to write their own notes; readers have either got to take more trouble over reading or cease to regard notes as pretentious and a sign of bad poetry
I feel guilty when people say I'm the greatest on the scene. What's good or bad doesn't matter to me; what does matter is feeling and not feeling. If only people would take more of a true view and think in terms of feelings. Your name doesn't mean a damn, it's your talents and feelings that matter. You've got to know much more than just the technicalities of notes; you've got to know what goes between the notes.
I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
A lot of people don't know this, but I started out as a blues-based player, and then, when I realized after playing 18 hours a day that there's more than five notes per scale, that's when my stuff became what it was. I started listening to violinists and flautists, and that's how my style evolved.
If I have a song where I hit some really high notes, I want to try to bring in equivalently low notes somewhere in there.
I had fun doing a lot of low-budget movies and web series. And I got back into stand-up where I started.
When I started playing the game of baseball, the more I played and the better numbers I got, the more I started thinking about the Hall of Fame. But I never thought I had a chance to be there.
Before we got married, I had tremendous ambition. Once we got married and I started having children, then I just thought that that was my real life. Steve was definitely more ambitious than I.
The criticism is that it's too simple, but my feeling is it's more of a challenge making someone feel an emotion in four notes than in 25 notes.
I got started as a producer first, but really, I feel my beats had more life than anyone could rap on them.
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