A Quote by Ramin Djawadi
I collect many ethnic instruments, and as a guitarist, I'm usually able to play any sort of instrument - as long as it has strings. That's why I like to experiment with different sounds.
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I learned everything by ear and played all the different instruments. So then I was able to find a guitar. That was, like, in the seventh grade. And then I didn't know how to put my fingers on all the different strings, so I had to figure out how to do it upside down and backwards, and I still play that way today.
I wanted to call it 'Experiment' because it's all kinds of different sounds. We have a bunch of instruments on there that are basically going extinct, like the fiddle, the steel guitar, the slide.
I sometimes like to think of God as a great symphony and the various spiritual paths as instruments in an orchestra. The gift that you have is like music waiting to be played. You need only to find the instrument that will best bring it out. You alone can never play all the instruments, and your music might not find voice in all the instruments. All you can do is find the instrument that suits you best, play it as well as you can, and add your music to the great symphony of divine creation.
One interesting thing - I play bass and guitar and stuff like that. I know those instruments really well. But I don't know how to play clarinet or trombone or any of these other instruments. I don't actually know how to play ukulele even though I've played it a lot in the past. Because of the weird tuning it's not exactly like a guitar. That's one of the reasons I like that instrument - it makes for surprises. It's not so predictable as the bass or the guitar is for me.
Many MIDI files contain entire musical compositions. Because MIDI supports only 16 channels, however, no more than 16 different instruments can play at any time, and one of those is the key-based percussion instrument.
You go with what you 'get,' and I get playing the guitar. It's a challenge because it's not an easy instrument to play. There are so many interesting sounds you can make out of it and so many different elements. I dig it.
Having the facility to have this multitrack at home, I could try experiments with sort of all of the instruments, giving them different treatments so they didn't actually sound, necessarily, like the instrument itself.
Some of the guys I played with .. didn't go around learning more about their instruments from an intellectual point of view. All they wanted was to play hot jazz, and the instrument was just a means. I'd imagine that a lot of them criticized me-said my technique was too good. Something like that. But I've always wanted to know what made music. How you do it, and why it sounds good. I always practiced, worked like hell.
I play bass. I play a bit of guitar. I've never been to a lesson, so my theory of music is non-existent in any instrument, but we always had guitars around. My dad taught me to play drums for 'Love Actually,' and I still play drums now. But I'm not a 'drummer.' I'm not a 'guitarist.' I'm trying to be a bassist.
I know it sounds very typical to say, but the best part of being an actor, and the reason why I think a lot of actors do it, is that it's always changing. You get to play so many things that it's like you've had so many different careers.
Learning to play old instruments was a challenge. How do you learn an instrument no one has played in hundreds of years? The ones that are used today, I was adamant not to hear anyone else play that instrument. I want to approach them as a child and on the basis of each instrument. I wanted my voice to come through, not someone else's.
One of the things I love about negotiations is that you have to be able to play it like an orchestra, different instruments for different circumstances. There's sweetness, and encouragement, and cajoling. There's pressure, there's drama, there's ultimatums.
My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.
In old age our bodies are worn-out instruments, on which the soul tries in vain to play the melodies of youth. But because the instrument has lost its strings, or is out of tune, it does not follow that the musician has lost his skill.
In order to even begin to learn how to play his instrument, it takes the guitarist weeks to build calluses on his fingertips; it takes the saxophonist months to strengthen his lip so that he might play his instrument for only a five-minute stretch; it can take the pianist years to develop dual hand and multiple finger coordination. Why do writers assume they can just “write” with no training whatsoever-and then expect, on their first attempt, to be published internationally? What makes them think they're so much inherently greater, need so much less training than any other artists?
I play these sort of comical instruments I invented, like the electric rake and the electric plunger. I do a lot of almost stand-up comedy material. Just the juxtaposition of the different styles in itself sometimes is funny. Like, I do sort of an acoustic version of 'Purple Haze' that has some bluegrass licks in it.
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