A Quote by Patrick Rothfuss

It wasn't even a good note. 'If you are reading this I am probably dead.' What sort of a note is that? — © Patrick Rothfuss
It wasn't even a good note. 'If you are reading this I am probably dead.' What sort of a note is that?
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
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.
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.
When you're just reading a note card but when you're just reading a note card and it doesn't even feel real, it's difficult at times. But I have no problem doing interviews. So I have absolutely no problem doing interviews.
I can sing in my head and rearrange the tune of a song, note per note. I am a nerd.
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
If you find a note tonight that sounds good, play the same damn note every night!
Well, if you find a note tonight that sounds good, play the same damn note every night!
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.
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.
God picks up the reed-flute world and blows. Each note is a need coming through one of us, a passion, a longing pain. Remember the lips where the wind-breath originated, and let your note be clear. Don't try to end it. Be your note.
Tintinnabulation is like this. Here I am alone with silence. I have discovered that it is enough when a single note is beautifully played. This note, or a silent beat, or a moment of silence comfort me.
If we had a truth-in Government act comparable to the truth-in-advertising law, every note issued by the Treasury would be obliged to include a sentence stating: This note will be redeemed with the proceeds from an identical note which will be sold to the public when this one comes due.
I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.
There's very little to be said for learning a piece note by note, reading the rhythmic markings, practising the fingerings and following your instructor's suggestions, if you haven't any idea how the music will eventually sound and feel. If you learn a piece mechanically, you may have to 'unlearn' it before you can play it with expression and feeling.
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