A Quote by Leo Ornstein
In writing music, the structure of each piece is a very important factor.
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I've not been to Afghanistan or - but what people are clearly pointing to is that it becomes more difficult to have it. You could do it. I think weather is a factor. The most important factor though is credibility and legitimacy. What I wanted earlier to say is what I think Senator [John] Kerry is pointing to, which is important, is the strategic review on whether to send more troops is only one piece of the puzzle, important piece.
It's like a piece of music; you never lose sight of the theme. Each scene pushes off to the next like music builds and you can almost hear the next chord progression, so it has a strict structure, which is very compelling.
We always have a basic structure for a piece of music, but we encourage the musicians to elaborate on whatever they feel at that particular moment. There's a definite conversation happening on stage. I think it is very important for us as creative musicians, to instantaneously describe any energy that is visible at that time.
I love writing with Colbie [Caillat]. We have something very magical together that's difficult to describe. We're very comfortable with each other, and that's really important for co-writing. I think both of us bring different things to each song.
If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
I have a huge music library and deliberately choose the piece of music to match the piece I'm writing. So, every book I write has its own "soundtrack."
I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.
Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time.
I liked the challenge of writing in a very concise structure in which both meaning and form are important.
The most important factor for the development of the individual is the structure and the values of the society into which he was born.
Music's always part of my writing. I think all art is interconnected. You can't create or experience one without its influences bleeding into another. In my writing, music's mostly something that feeds my inspiration and mood while I'm writing, but it's also taught me how to score scenes and even novels. The rise and fall of the storyline echoes the flow of a good piece of music.
For me to work with someone, I have to know who I'm working with so I can learn how to deal with each other and try to help each other. At the end of the day, it really just comes down to building a genuine relationship. I think that's a very important factor in business.
A particular piece of music attaches itself to the piece I'm writing, and there is nothing else I can listen to. Every day I return to the same space to write, the music providing both the walls and the pictures on the walls.
Russia is very important, Iran is very important, Hezbollah is very important. All of them are important. Each one made important achievements against the terrorists in Syria, so it's difficult to say who is more important than the other.
I really do seek to create music that is timeless, ... Each project takes on its own life, and the songs from "A Time To Love" are the most appropriate for the statement I wanted to make...The most important thing is, when I do give the music, I'm satisfied with it, that it speaks for what I want to do...It is a different kind of lyric; it's very picturesque. I can see everything that I'm writing, I can visualize all those things happening.
'Hound Dog' took like twelve minutes. That's not a complicated piece of work. But the rhyme scheme was difficult. Also the metric structure of the music was not easy. 'Kansas City' was maybe eight minutes, if that. Writing the early blues was spontaneous. You can hear the energy in the work.
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