A Quote by Mary Chapin Carpenter

I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.
I'll always work with my collaborator in the room so I have a reaction on a note-by-note basis. I know in my gut when something works for me, and I'll fight for it, but I'm a very easy re-writer.
Some people write a thank you note for a gift, and it's three pages long, and some people write a thank you note, and it's five sentences - that's me. I like to pare away words because I don't want to waste anyone's time.
The only planning I do is about a minute before I play. I desperately try to think of something that will be effective, but I never sit down and work it out note for note.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
I would get records by Earl Scruggs... I would tune my banjo down and I'd pick out the songs note by note. Learned how to play that way. I persevered. There was a book written by Pete Seeger, who showed you some basic strumming and some basic picking... And I kind of worked out my own style of playing.
I think that there's etiquette for every means of communication. People are very judgmental and have strict rules. I don't think you should end a relationship with a Post-it note. I know some people who get offended when an e-mail is sent as a "thank you" note instead of a hand-written card.
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.
If I have to hold a note for a long time, I imagine it as moving and spinning, for the note has to have life. In a way, a singer actually refreshes a note with every beat that it's held.
For a second we just stand there in silence. Then, suddenly, Alex is back, easy and smiling again. “I left a note for you one time. In the Governor’s fist, you know?” I left a note for you one time. It’s impossible, too crazy to think about, and I hear myself repeating, “You left a note for me?” “I’m pretty sure it said something stupid. Just hi, and a smiley face, and my name. But then you stopped coming.” He shrugs. “It’s probably still there. The note, I mean. Probably just a bit of paper pulp by now.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
There is no formula to it because writing every song, for me, is a little journey. The first note has to lift you and make you go, 'What's this?' You play C, but why is it that one day it leads to G and it didn't yesterday? I don't know. It's everything. It's the walk you take in the morning, it's the night before, the meeting with people, landscapes, the chats, all of that evolves in some way into melody, but I'm not sure how it's going to happen. I'm dealing with the unknown all the time and that is exciting.
It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
If you find a note tonight that sounds good, play the same damn note every night!
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