A Quote by Steven Pressfield

The song we’re composing already exists in potential. Our work is to find it. — © Steven Pressfield
The song we’re composing already exists in potential. Our work is to find it.
Composing a melody or a western song is easier than composing a commercial number.
I have come up with very creative ideas that really didn't work with the song I was currently composing.
I enjoy the process of composing music. The first time I hear a song, it has to bring a smile to my lips. You have to tap your feet and be able to sing the song.
In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.
It is hard work composing a song for a film and showing it to makers: 50% of the tune remains the same, and the remaining 50% is changed to suit the script.
As a writer, I'm too busy and worried to experience the delight while composing my own work, although, of course, I hope a reader will find something of it when the work is complete. But I do try to figure out where in their experiences certain characters of mine, who are not necessarily readers, and certainly not writers or artists, find an equivalent sensation: of delight, of astonishment, of whatever it is that briefly - and brevity seems essential - reassures us, connects us, sends a shiver of inarticulate recognition down our spines: Oh, yes: life.
Embryos turn into babies; buds turn into blossoms; acorns turn into oak trees. The same programming that exists in them exists in each of us - to manifest our highest potential. What is the difference between those things and us? That we can say no...So today, say yes.
That the potential to become Level 5 exists in you and me and the people we work with and that it is then a process or a journey to nurture that seed... in a culture by and large that doesn't reinforce it.
Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
There is immense, powerful potential in life in this universe - especially now that we know that places like the Earth are common. And that potential, that powerful potential, is also our potential, of you and me.
I've always felt that the game itself is pretty much a melody and I am there to provide the lyrics. You want the lyrics to match the melody, because if you are composing a song or recording a song, it's cacophonous if they don't match.
The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song. What do I write about? I never know.
The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes.
It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.
The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.
In the largest sense, every work of art is protest... A lullaby is a propaganda song and any three-year-old knows it... A hymn is a controversial song - sing one in the wrong church: you'll find out...
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