A Quote by Julia Holter
I listen to the timbre of the music, and I fit my voice to blend with that timbre.
Related Quotes
Voice is the je ne sais quoi of spirited writing. It separates brochures and brilliance, memo and memoir, a ship's log and The Old Man and the Sea. The best writers stamp prose with their own distinctive personality; their timbre and tone are as recognizable as their voices on the phone. To cultivate voice, you must listen for the music of language-the vernacular, the syntactic tics, the cadences.
Shh. Listen to the sounds that surround you. Notice the pitches, the volume, the timbre, the many lines of counterpoint. As light taught Monet to paint, the earth may be teaching you music.
What we look for when we need to find someone who can fit in with our music, the vocals and the harmonies and the way they blend are very important to us because if you listen to Beach Boys music, the harmonies, not only are the notes being sung, but there's a blend to it. The voices have to blend.
I feel like the timbre of your voice as a woman doesn't cut through as well as a loud bassy voice, so you need to noticeably speak up.
You must find the right voice (or voices) for the timbre that can convince a reader to give himself up to you.
I couldn't think of anything to say. I was idiotically entranced by the way he said "Grace." The tone of it. The way his lips formed the vowels. The timbre of his voice stuck in my head like music.
I love Bach cello suites, I love punk music, I love old blues, negro spiritual quartets, Muddy Waters' 'You Need Love.' There is a simplicity but also a bite that connects all that music, from the growl in the cello to the timbre in Muddy's voice.
Geekiness is that feeling of overwhelming passion for that thing in life that you focus on. Whether it be a nephew's first few steps or the timbre in one's voice when discussing the latest Cohen brothers film.
In his voice resonated the timbre of a man who thinks he has convinced himself of an idea, but masks his own doubt by laboring to persuade others.
Words when spoken out loud for the sake of performance are music. They have rhythm and pitch and timbre and volume. These are the properties of music and music has the ability to find us and move us and lift us up in ways that literal meaning can't.
There is no one part of the brain which recognizes or responds emotionally to music. Instead, there are many different parts responding to different aspects of music: to pitch, to frequency, to timbre, to tonal intervals, to consonance, to dissonance, to rhythm, to melodic contour, to harmony.
There is a timbre of voice that comes from not being heard and knowing / you are not being heard / noticed only by others / not heard for the same reason.
Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
Within the context of Western music, jazz has always contained certain radical or revolutionary aspects. These are: improvisation, collective composition and individuality or the personal sound (based on amazing variations in sonority, timbre and pitch).
As soon as I choose the timbre of an instrument, that dominates how I compose.
Music has always been important to me. Rhythm, in particular, features in most of the things I do. I stumbled recently upon an old notebook in which I'd written, 'Touch, timing and timbre... keys to the heart.' That just about says it all.
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