A Quote by Miles Davis
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
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Beethoven said that it's better to hit the wrong note confidently, than hit the right note unconfidently. Never be afraid to be wrong or to embarrass yourself; we are all students in this life, and there is always something more to learn.
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.
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.
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 you hit a wrong note, then make it right by what you play afterward.
If you find a note tonight that sounds good, play the same damn note every night!
Well, if you find a note tonight that sounds good, play the same damn note every night!
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
I make singers sing every note fully and wait till they hit the right note.
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.
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.
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.
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.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
I've heard stories of pickup bands that can't follow, but here's the thing: If you want to play with Chuck Berry, you listen to his greatest hits and learn the format of the songs, but don't try to play it note-for-note.
I only have one note, let's be honest. But I'll play a different version of that one note.
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