A Quote by Marian McPartland

The key of D is daffodil yellow, B major is maroon, and B flat is blue. — © Marian McPartland
The key of D is daffodil yellow, B major is maroon, and B flat is blue.
I find C major to be the key of strength, but also the key of regret. E major is the key of confidence. A-flat major is the key of renunciation.
It is daffodil time, so the robins all cry, For the sun's a big daffodil up in the sky, And when down the midnight the owl call to-whoo! Why, then the round moon is a daffodil too; Now sheer to the bough-tops the sap starts to climb, So, merry my masters, it's daffodil time.
'One Yellow Daffodil' is both a look to the past and to the future and expresses my belief in the great spirit and strength of our children.
There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.
O fateful flower beside the rill- The Daffodil, the daffodil!
No blue without yellow and without orange, and if you do blue, then do yellow and orange as well, surely.
Yellow can express happiness, and then again, pain. There is flame red, blood red, and rose red; there is silver blue, sky blue, and thunder blue; every color harbors its own soul, delighting or disgusting or stimulating me.
Fame stole my yellow. Yellow is the color you get when you're real and brutally honest. Yellow is with my kids[...]The bundle of bright yellow warming my core, formerly frozen and uninhabitable[...]They got yellow from me, and I felt yellow giving it to them and it was all good[...]So, why am I leaving my show? It took my yellow. I wanted it back. Without it I can't live. The gray kills me.
There is a tiny yellow daffodil, The butterfly can see it from afar, Although one summer evening's dew could fill Its little cup twice over, ere the star Had called the lazy shepherd to his fold, And be no prodigal.
When a person looks through a colored lens, everything seems to be that color. If the lens is tinted yellow or blue, everything seems yellow or blue. A person who looks at life through the lens of gratitude will always find things to be grateful for.
I let my head fall back, and I gazed into the Eternal Blue Sky. It was morning. Some of the sky was yellow, some the softest blue. One small cloud scuttled along. Strange how everything below can be such death and chaos and pain while above the sky is peace, sweet blue gentleness. I heard a shaman say once, the Ancestors want our souls to be like the blue sky.
How do you see those tree?... They are yellow. Well then put down yellow. And that shadow is rather blue. So render it with pure ultramarine. Those red leaves? Use vermillion.
A blue dog, you know, is the opposite of a yellow dog. And a yellow dog was somebody who was willing to follow his party even when he knew it was wrong.
My palette contains a warm and cool of each primary, plus four modifiers: Yellow Ochre, Burnt Sienna, Blue-Violet and Phthalo Yellow-Green just mix as I go for each painting.
I try not to match too much. You know, if there's a blue coat and a blue shirt and a blue tie, I try to stay away from that. I'd rather have a blue coat and a yellow shirt and a pink tie. I don't like to look too matching. You know those mismatched socks kids wear? That's my idea of a good suit.
It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.
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