A Quote by Steve Tibbetts
Sometimes you can define a composition or a couple of notes by the silence that goes around it.
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I'm a playwright by trade, and in theater, writers have complete control over everything. Nobody can change a word without your permission. I've had a couple screenwriting experiences that weren't terrible, but they were typical, where executives came in and gave you sometimes good notes and sometimes horrible notes - but they wanted to change the movie that everybody had agreed to make. After a couple of times, it's like, "Why are we doing this?" The story is not going to turn out very good when 13 people are writing it together.
Sometimes a couple notes are worth a thousand words.
Silence is very important. The silence between the notes are as important as the notes themselves.
I'm not a philosopher, Harry," [Michael] said. "But here's something for you to think about, at least. What goes around comes around. And sometimes you get what's coming around." He paused for a moment, frowning faintly, pursing his lips. "And sometimes you are what's coming around.
The silence between two notes is as beautiful and meaningful as the notes themselves.
I don't know what good composition is.... Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. There's a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness.
But there is something about Time. The sun rises and sets. The stars swing slowly across the sky and fade. Clouds fill with rain and snow, empty themselves, and fill again. The moon is born, and dies, and is reborn. Around millions of clocks swing hour hands, and minute hands, and second hands. Around goes the continual circle of the notes of the scale. Around goes the circle of night and day, the circle of weeks forever revolving, and of months, and of years.
You know how it is in the symphony when you are listening to the symphony, the last notes die away, and there's often a beat of silence in the auditorium before the applause begins. It's a very full and pregnant silence. Now theology should bring us to live into that silence, into that pregnant pause.
It is very hard to live with silence. The real silence is death and this is terrible. To approach this silence, it is necessary to journey to the desert. You do not go to the desert to find identity, but to loses it, to lose your personality, to be anonymous. You make yourself void. You become silence. You become more silent than the silence around you. And then something extraordinary happens: you hear silence speak.
I started realizing that music is the one area where I've always let go. When that saxophone goes into my mouth, I get into a space where I never think about the notes I've already played or anticipate the notes ahead.
Sometimes the snow comes down in June, sometimes the sun goes around the moon.
The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.
Notes are tricky in an audition, because I find, more often than not, my instinct is right. If they have a preconceived notion about the role and it goes against my instinct, unless it makes sense to me, it often throws off what I'm trying to do. Though sometimes they have an insight that I don't because they've been living with the script. I don't have one feeling or another about notes, but it is always a little bit of a red alert when I get one in an audition.
Phonographic. It goes around and around. Sometimes it gets stuck. That's why I remember things so well.
On Pinwheel, you can find and leave notes all around the world. The notes can be public or private, shared with an individual, a group, or everyone.
A lot of young drummers have a tendency to really overplay. Sometimes simple is better, and the notes that aren't played between the spaces are bigger than the notes that are.
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