A Quote by Tori Amos
I've never felt anything that moves me as much as my piano. I'm an emotional player. I don't really like people. I prefer my piano to people. It's totally reliable and it's alive. I can hear what it's saying.
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I can play piano, and I write everything on piano, but I don't really feel like a piano player, necessarily.
I feel like I'm an okay piano player. To the music world, to people that's in the hip-hop culture, they probably look at me like, 'Zaytoven the greatest piano player in the world.' I'm okay.
I started playing the piano when I was 6 years old 'cause my folks tried to get me away from the gramophone. And I just - I lived for music since I could think. And they got me piano lessons. So by the time I was 13, I was quite an accomplished piano player and musician.
I'd swear to God, if I were a piano player or an actor or something and all those dopes thought I was terrific, I'd hate it. I wouldn't even want them to clap for me. People always clap for the wrong things. If I were a piano player, I'd play it in the goddam closet.
I always feel like I want to write a song when I'm really upset. And when I'm in an argument with my family, I go straight to the piano and just kind of take it out on the piano and get all emotional.
I've watched other people singing, I've become a much better singer. I've become a singer that plays the piano instead of a piano player that sings.
When we hear a Mozart piano concerto today, we're most likely to hear the piano part played on a modern concert grand. In the hands of a professional pianist, such a piano can bury the strings and the winds and hold its own against the brass. But Mozart wasn't composing for a nine-foot-long, thousand-pound piano; he was composing for a five-and-a-half-foot-long, hundred-and-fifty-pound piano built from balsa wood and dental floss.
The first job I ever did in the theatre, I was supposed to be a genius piano player. I couldn't play the piano, but you just sit there at a piano like you're playing, and suddenly all this amazing music comes out and the audience believes you can do it. It's the same with computers. I love scenes where there are people yanking at monitors, "yes I'll put you through now," and you know they're just doing that. But you can look brilliant at all this technology. I love it.
I am really not a speedcuber. My best time when I was practicing was about a minute. Usually people say if you can create a piano, you must be a good piano player, but it is not true. They are different type of human activities and need different capabilities.
I don't like the piano player music of the movies, the Michael Nyman, and sometimes that piano music makes me puke. It's not really romantic. It's just trying to get your Pavlovian juices flowing because it's a technique now.
I cut the scene out, but there was a moment where Christoph Waltz plays the piano in 'Django [Unchained]' - Jamie [Foxx] is a magnificent piano-player but there's never a moment where Django plays the piano.
I'm not an overly skilled piano player or organ player at all, but I think I'm the right piano and organ player for the Heartbreakers. And I've been the right piano and organ player for a lot of sessions that I've been called on.
I became really creative around the time I started understanding that people could be creative with music and that that was allowed. I stated taking piano lessons at age five, but I never did what my piano teacher told me to do. I would just do whatever I wanted.
I've never really not played the piano. I've played it since I was six or seven and it's something I've always done - I don't think I could ever really play anything else, I would be a bit out of it without a piano.
The piano is the X factor. People have a tough time following the structures when there's no piano there, spelling it out. It makes it more easily understood, particularly to people who don't know as much about music.
When I was a little kid wanting to play music, it was because of people like Pete Johnson, Huey Smith, Allen Toussaint, Professor Longhair, James Booker, Art Neville ... there was so many piano players I loved in New Orleans. Then there was guys from out of town that would come cut there a lot. There was so many great bebop piano players, so many great jazz piano players, so many great Latin piano players, so many great blues piano players. Some of those Afro-Cuban bands had some killer piano players. There was so many different things going on musically, and it was all of interest to me.
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