A Quote by Leonard Cohen
Now I've heard there was a secret chord That David played, and it pleased the Lord But you don't really care for music, do you? It goes like this the fourth, the fifth The minor fall, the major lift The baffled king composing Hallelujah
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I wonder if anyone else has an ear so tuned and sharpened as I have, to detect the music, not of the spheres, but of earth, subtleties of major and minor chord that the wind strikes upon the tree branches. Have you ever heard the earth breathe?
If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh."
I never heard anything so brilliant in my life as I did that first time I heard Ornette. He played like some revolutionary angel. Soon, we were rehearsing in his place, music scattered everywhere, and he was telling me to play outside the chord changes, which was exactly what I had been wanting to do. Now I had permission.
The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.
Film is a two dimensional thing - it goes up and down and left to right but if you put that music into that two dimensional medium, it became like a third, fourth, and fifth dimension, I really believe in that.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
I heard a bird so sing, Whose music, to my thinking, pleased the king.
Rejoice, the Lord is King! Your Lord and King adore; Mortals, give thanks and sing, And triumph evermore: Lift up your heart, lift up your voice; Rejoice, again, I say rejoice.
The way that words mutate reminds me of fashions in music. The word--the note--is a constant. But the setting and chord in which it occurs alters with the mood of a nation from major to minor, from the assertive to the mournful and foreboding.
My sweet Lord, hallelujah. My, my Lord, hallelujah. My, my Lord, hare krishna.
When my dad played me 'Walking Man,' I heard those chord changes and that melody, it completely blew me away. Maybe you wouldn't really hear the James Taylor influences in my music, but they're definitely buried in there.
Sometimes it's cool to play major third and minor third diads back-to-back, or a minor third followed by a root/fifth diad - whatever combo sounds good.
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.
It wasn't until the fourth or fifth Van Halen record that people would go, 'Wow! You're singing backgrounds on those records. That's not David Lee Roth.' And I go, 'Hell, no! That's not David Lee Roth.'
They gave high fives to all the players who say like the most obvious textbook answers in the world. It's like after each game, you already know what they're going to say. If they lost: "Ahh ... Tough loss." It's like, come on, how do you guys fall for that? And if they something that they really feel, everyone goes crazy. Like "Oohh! He's spazzing out!" Now he gotta say sorry for saying something he really felt. It's like, Oh lord.
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