A Quote by Tommy Bolin
Lots of times it really doesn't matter what notes you play, but what notes come before and after a run.
Related Quotes
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
I just chuck a bunch of words down and whether they find themselves into a song... I have lots of weird notes on my phone. I often come up with a phrase that I really like, I write it down and it stays in my notes folder, and when I'm writing I will scroll through and see if it kind of fits and if I can mould a verse around it.
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’ll write down little lines, I always say, 'K.T.N.,' and I say that to my receivers and running backs and that means 'keep taking notes.' That keeps me alert. That keeps me going. That keeps my drive there, even when you’re taking notes on something that you’ve already taken notes on a million times - keep taking notes.
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
Dont play any notes. Notes are for babies.
To me, the biggest notes and the longest notes are the easiest notes.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
There are seven notes - Sa Re Ga Ma Pa Dha Ni no one is original in the world. We have to play around the notes and make our own stuff.
If I have a song where I hit some really high notes, I want to try to bring in equivalently low notes somewhere in there.
Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.
In jazz improv, there is no such thing as wrong notes, only notes that are better chosen and it's not about the note you play, it's about the note you play next.
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.
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.
I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
At a very early age I began to thump on the piano alone, and it was not long before I was able to pick out a few tunes? I also learned the names of the notes in both clefs, but I preferred not be hampered by notes.
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