A Quote by Sarah Caldwell

That's what it is that you rehearse - the making of music, not the playing of notes as abstractions. — © Sarah Caldwell
That's what it is that you rehearse - the making of music, not the playing of notes as abstractions.
There's something mathematically satisfying about music: notes fit together and harmony and all that. And mathematics has to do with abstractions and making connections.
Once you start to play together, vibing off each other in the scene, it's not just the notes - it's the music. The script might be the notes playing, but we're making it music.
Lee Morgan used to stand behind me when I was playing a ballad and he'd be hollering, "Play the pretty notes, man, play the pretty notes." I thought I was playing the pretty notes, but you know, things like that help you to reach a little further.
I've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.
You have to open the music, so to speak, and see what's behind the notes because the notes are the same whether it is the music of Bach or someone else.
A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by playing too many notes with the left hand.I hear a lot of players running whole scales from the sixth string to the first , and playing them really sloppy.Keeping it very basic-and using only a few notes-and playing slowly with perfect rhythm is a task in itself.
If you stopped playing notes, Music would still exist.
It's just music. It's playing clean and looking for the pretty notes.
Playing with words is like combining different notes in music.
Everything I do, I'm always playing music. When I wake up in the morning, I'm playing music. When I'm showering, I've got music playing. When I go to the field, music is playing.
My background with Cummings was rehearse, rehearse, rehearse, but Tuesday liked to walk in and do the scene. I must say that she was really wonderful. Aggravating, but wonderful.
Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.
I play until my fingers are blue and stiff from the cold, and then I keep on playing. Until I'm lost in the music. Until I am the music--notes and chords, the melody and harmony. It hurts, but it's okay because when I'm the music, I'm not me. Not sad. Not afraid. Not desperate. Not guilty.
I used to imagine that making it in music - really making it in music - is if you're an old man going by a schoolyard and you hear children singing your songs, playing jump-rope, or on the swings. That's the ultimate. You're in the culture.
The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.
Because in classical music cello is not regarded as a popular choice, it's always playing the long, boring notes.
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