A Quote by Luc Ferrari

I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too. — © Luc Ferrari
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
I went through eight years of classical piano lessons without being able to read notes. I only have to hear a melody to be able to play it. It used to freak my piano teacher out when he finally noticed that notes don't make any sense to me and that I played by ear.
My dad noticed some kind of talent on piano when he asked me to play a couple random songs on piano when I was 6 and I just did it. I attempted lessons but I was just so bad at reading notes. I would read "Three Blind Mice" by ear, so learning notes was almost impossible.
Lee Morgan used to stand behind me when I was playing a ballad and he'd be hollering, "Play the pretty notes, man, play the pretty notes." I thought I was playing the pretty notes, but you know, things like that help you to reach a little further.
I don't just strictly sample. I build. I'm a musician: I play piano and drums, I read notes, I write music.
Once you start to play together, vibing off each other in the scene, it's not just the notes - it's the music. The script might be the notes playing, but we're making it music.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
When I worked in theater, I was always writing things on Post-it Notes and sticking them on screens or desks. Twitter has given me a way of continuing to post those notes, only a lot of other people see them, too.
I just write notes all day on my phone, and when I write songs it becomes a patchwork of these smaller notes that I had, mixed with stuff in the moment.
Lots of times it really doesn't matter what notes you play, but what notes come before and after a run.
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.
I would play music every day from the time I was about 4 or 5 years old. Every time I would go from one end of the house to the other, I would pass the piano and play a few notes.
Dont play any notes. Notes are for babies.
As time has gone on I've felt less and less need to play too many notes. That's something you do when you're younger, you play far too much and too fast.
There are seven notes - Sa Re Ga Ma Pa Dha Ni no one is original in the world. We have to play around the notes and make our own stuff.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
'A Fair Maiden' existed in notes and sketches for perhaps a year. When I traveled, I would take along with me my folder of notes - 'ideas for stories.' Eventually, I began to write it and wrote it fairly swiftly - in perhaps two months of fairly intense writing and rewriting. Most of my time writing is really re-writing.
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