A Quote by Yo-Yo Ma

As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.
For the most part, I've been influenced by black singers and singers I couldn't sound like. Whenever I tried to do a dark note or a bent note, I would just sound like Hootie And The Blowfish.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
If I have to hold a note for a long time, I imagine it as moving and spinning, for the note has to have life. In a way, a singer actually refreshes a note with every beat that it's held.
Iron Maiden is an institution, and I'm delighted that I'm involved in it, but there was a time that I wasn't delighted so I quit.
The flat sound of my wooden clogs on the cobblestones, deep, hollow and powerful, is the note I seek in my painting.
The program I use is called MED Soundstudio. It's basically a column of numbers that relate to pitch, duration, the type of sound. If I want to play a chord, I have to press keys on a keyboard - like a computer keyboard, on my Amiga - that relate to sharps and flats, note by note.
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
It can't be any new note. When you look at the keyboard, all the notes are there already. But if you mean a note enough, it will sound different. You got to pick the notes you really mean!
For a second we just stand there in silence. Then, suddenly, Alex is back, easy and smiling again. “I left a note for you one time. In the Governor’s fist, you know?” I left a note for you one time. It’s impossible, too crazy to think about, and I hear myself repeating, “You left a note for me?” “I’m pretty sure it said something stupid. Just hi, and a smiley face, and my name. But then you stopped coming.” He shrugs. “It’s probably still there. The note, I mean. Probably just a bit of paper pulp by now.
I was delighted to become a popular-culture reference point. I'm still delighted about it actually, and I still find it to be weird.
I'll always work with my collaborator in the room so I have a reaction on a note-by-note basis. I know in my gut when something works for me, and I'll fight for it, but I'm a very easy re-writer.
I played trumpet in the school bands. I learned things I liked to play on my trumpet, but I didn't learn why this note goes with this note and why it produces that sound. Or how to create tension in the composition.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
You may be sitting in a room reading this book. Imagine one note struck upon the piano. Immediately that one note is enough to change the atmosphere of the room - proving that the sound element in music is a powerful and mysterious agent, which it would be foolish to deride or belittle.
The only planning I do is about a minute before I play. I desperately try to think of something that will be effective, but I never sit down and work it out note for note.
It's good when you're out there on a tennis court. There's nowhere to hide. It's all you, tactically, physically, mentally.
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