A Quote by Pico Iyer
In many a piece of music, it's the pause or the rest that gives the piece its beauty and its shape. And I know I, as a writer, will often try to include a lot of empty space on the page so that the reader can complete my thoughts and sentences and so that her imagination has room to breathe.
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To me, part of the beauty of a comma is that it offers a rest, like one in music: a break that gives the whole piece of music greater shape, deeper harmony. It allows us to catch our breath.
If you're concentrating so damn hard on a piece of mathematics or a musical - a piece of music or a piece of art, the restraint that holds the rest of - the rest of the world back off and vanishes in the rest of your life.
As I sit down and start to work, I often panic. I stare at the empty piece of music paper. How can I say that my piece will be ready for performance next January when I do not have a recipe for making it happen?
Presenting both sides of Christianity gives the skeptic room to breathe - and to consider the possibility that there's room in Christianity for diversity in interpreting the Bible. And it gives the traditionalist pause to think again - and to consider the possibility that she might need to tweak her hermeneutic.
For it is only framed in space that beauty blooms. Only in space are events and objects and people unique and significant-and therefore beautiful. A tree has significance if one sees it against the empty face of sky. A note in music gains significance from the silences on either side. A candle flowers in the space of night. Even small and casual things take on significance if they are washed in space, like a few autumn grasses in one corner of an Oriental painting, the rest of the page bare.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
When someone gives you a piece of music, they are really giving you a piece of themselves.
My favorite way of working is if somebody gives me a piece of music, because I'm quite limited as a player, so it's my favorite thing if somebody gives me a piece of music, and then I can write lyrics and melodies.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
Barry recounts all this in prose of often startling beauty. Just as he describes people stopping in the street to look at Roseanne, so I often found myself stopping to look at the sentences he gave her, wanting to pause and copy them down.
A particular piece of music attaches itself to the piece I'm writing, and there is nothing else I can listen to. Every day I return to the same space to write, the music providing both the walls and the pictures on the walls.
It's the horsey-shape piece that moves in an L shape. It's what makes chess complicated, and why stupid people can't play chess. Go play checkers! Knights are the first piece you look at. They elevate the game. No chess master wants to lose her knights.
When we work on a piece of music, we'll often read the biographies of the composer and learn about what was going on historically and artistically. But I believe that the connection to a piece of music is something much more personal and mysterious than all of these bits of information.
The beauty of a piece of music is not in its technique but in the Soul of its creator; nor is it in the
sound vibrations of the piece but in the silence of the Light from which the sound springs.
To do magic, to do great magic, he has to know himself as a piece of the universe.A piece of the universe?A little piece that has all the rest of it in it. Everything outside of him is also inside of him.
Not long ago, in response to a spell of insomnia, I learned some of the principles of meditation, to empty my mind piece by piece. It was like the old game of jacks - cautiously lifting each jack clear of its neighbor until only the empty background remained.
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