A Quote by Joseph Addison
Let echo, too, perform her part, Prolonging every note with art; And in a low expiring strain, Play all the comfort o'er again.
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Art thou in misery, brother? Then I pray Be comforted. Thy grief shall pass away. Art thou elated? Ah, be not too gay; Temper thy joy: this, too, shall pass away. Art thou in danger? Still let reason sway, And cling to hope: this, too, shall pass away. Tempted art thou? In all thine anguish lay One truth to heart: this, too, shall pass away. Do rays of loftier glory round thee play? Kinglike art thou? This, too, shall pass away! Whate'er thou art, wher'er thy footsteps stray, Heed these wise words: This, too, shall pass away.
Secular music, do you say, belongs to the devil? Does it? Well, if it did I would plunder him for it, for he has no right to a single note of the whole seven. Every note, and every strain, and every harmony is divine, and belongs to us.
A winning wave, (deserving note.)
In the tempestuous petticote,
A careless shoe-string, in whose tye
I see a wilde civility,--
Doe more bewitch me than when art
Is too precise in every part.
And soon, too soon, we part with pain, To sail o'er silent seas again.
Any work of art represents a series of conscious choices on the part of the artist - what color to paint, what note to play, what word to use - in that artist's attempt to share what is in his or her soul. The audience is free to accept or reject those choices; it is emphatically not free to substitute its own.
I sailed on the North River last night with my flute, and my music was a tinkling stream which meandered with the river, and fell from note to note as a brook from rock to rock. I did not hear the strains after they had issued from the flute, but before they were breathed into it, for the original strain precedes the sound by as much as the echo follows after, and the rest is the perquisite of the rocks and trees and beasts. Unpremeditated music is the true gauge which measures the current of our thoughts, the very undertow of our life's stream.
I know a lady that loves to talk so incessantly, she won't give an echo fair play; she has that everlasting rotation of tongue that an echo must wait till she dies before it can catch her last words!
She went from opera, park, assembly, play,
To morning walks, and prayers three hours a day.
To part her time 'twixt reading and bohea,
To muse, and spill her solitary tea,
Or o'er cold coffee trifle with the spoon,
Count the slow clock, and dine exact at noon.
If you find a note tonight that sounds good, play the same damn note every night!
That strain again! It had a dying fall:
O, it came o'er my ear like the sweet sound
That breathes upon a bank of violets,
Stealing and giving odour! Enough; no more:
'Tis not so sweet as it was before.
Well, if you find a note tonight that sounds good, play the same damn note every night!
What's comfortable to me is familiarity. Comfort has nothing to do with the size of the garment. I do find something quite comfortable and charming in a too-narrow shoulder, a sleeve that's too short or too long, a pant that's too high or too low, hems that are trod on.
She can play my guitar note for note, she likes to stick her tongue down my throat.
We hurt people by being too busy. Too busy to notice their needs. Too busy to drop that note of comfort or encouragement or assurance of love. Too busy to listen when someone needs to talk. Too busy to care.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
Getting to play the part of Selena was life-changing for me, i got to immerse myself in her life, got to know her family, her home, her culture ... every part of her story. It was a special time in my life both professionally and personally. Playing her not only opened doors for me in the film world, but it inspired me to start my own music career. In a lot of ways, I wouldn't be where I am today if I hadn't had that experience.
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