Top 420 Chords Quotes & Sayings - Page 6

We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory will swell when again touched, as surely they will be, by the better angels of our nature.

Once I got the open tunings for some reason, I began to get the harmonic sophistication that I heard that my musical fountain inside was excited by. Once I got some interesting chords to play with, my writing began to come.

I play until my fingers are blue and stiff from the cold, and then I keep on playing. Until I'm lost in the music. Until I am the music--notes and chords, the melody and harmony. It hurts, but it's okay because when I'm the music, I'm not me. Not sad. Not afraid. Not desperate. Not guilty.

Music is the language of the angels. You can hear just one or two chords, one or two notes of a song, and bam - you're right back there, you're right back in that moment, you're back in that day, you're back at that prom, you're back in the car.

If I am able to sing again it will be through some miracle operation. There's a lot of work being done to help singers regain their voices, but in my case I actually lost vocal tissue so it's very hard for my chords to rub together and I need to replace that tissue. I remain optimistic but not tremendously so.

The real beauty of it - key to my life was playing key chords on a banjo. For somebody else it may be a golf club that mom and dad put in their hands or a baseball or ballet lessons. Real gift to give to me and put it in writing.

My favorite band of all time is The Clash. The thing I love about The Clash is they started out as guys who could barely play three chords. They dabbled in reggae, punk, rap, jazz. They came to a sound that could only be defined as The Clash. It was impossible to say what it was. I admire them for that.

I don't like no fancy chords. Just the boogie. The drive. The feeling. A lot of people play fancy but they don't have no style. It's a deep feeling-you just can't stop listening to that sad blues sound. My sound.

To be a poet is to have a soul so quick to discern, that no shade of quality escapes it, and so quick to feel, that discernment is but a hand playing with finely-ordered variety on the chords of emotion--a soul in which knowledge passes instantaneously into feeling, and feeling flashes back as a new organ of knowledge.

I learned to play by ear before I learned music theory. For me, that makes sense. After all, children learn to speak before they read and write. The more you understand of music - how harmony and time signatures work, and what chords and inversions are - the more you'll enjoy it.

Indeed, there is a moment on the first CD - the electrifying opening to "I Got Loaded," which sounds like an R&B standard but isn't - when you might find yourself asking whether anyone who has ever been smitten by pop music can fail to have his heart stopped by the chords, the swing, and, once again, Steve Berlin's wonderfully greasy sax.

Jazz is my adventure. I'm after new chords, new ways of syncopating, new figures, new runs. How to use notes differently. That's it. Just using notes differently.

I love listening to Radio Head's 'Everything in its Right Place' because it's all major chords, it makes you feel really good. It's soothing, it's got a beautiful voice, crazy textures. When I'm down I listen to that song and it really makes me feel good.

What a proof of the Divine tenderness is there in the human heart itself, which is the organ and receptacle oft so many sympathies! When we consider how exquisite are those conditions by which it is even made capable of so much suffering--the capabilities of a child's heart, of a mother's heart,--what must be the nature of Him who fashioned its depths, and strung its chords.

When you use a sample in a big way, when you loop something in the way I did with 'Runaround Sue,' it's like you have your chords and your melody and the quality of the song right there before you add your own production. It's like the song is already made, in a sense.

The one area where I'll say that Hendrix is underrated was his ability to use chord melodies. He used different inversions of chords and was able to make a three-piece band sound absolutely huge. From the moment Hendrix and the Experience came on the scene, power trios had their work cut out for them.

'Chandelier' took, like, four minutes to write the chords, then, like, 12-15 minutes to write the lyrics. Probably 10 or 15 minutes to cut the vocals.

I like the sound of a Silvertone amp for myself. It's kind of cleaner guitar sounds when necessary, maybe a little less metal-sounding. But it really doesn't matter what amp I play through; it's really the way I voice chords and play guitar, how I strike the strings.

"The Hallmark Sessions" is an extraordinary release. Breau plays beautiful chords (sounding a little like Johnny Smith in spots) and inventive single-note lines. It is remarkable that this music was not released until 2003, but a happy event that it was finally put out. This is a must for Breau fans and an important release for all jazz guitar lovers.

A lot of people at my school could play the "Stairway to Heaven" guitar solo, but they couldn't play three chords of a Ramones song if their life depended on it because they didn't have the strength or ability to do it. But all I did was practice that, and the style that I eventually fell into is more focused than people would actually imagine.

God is merely tuning the soul, as an instrument, in this life. And these joys of the Christian, are only the notes and chords that are sounded out in the preparation--preludes to the perfect harmony that shall flood the soul--forerunners of the perfected and rapturous joy that shall bless the soul, in that exceeding and eternal weight of glory.

I actually prefer it if I don't know what I'm supposed to do. If you've got an equal temperament piano keyboard, then you know what you're going to get if you play certain chords. But I actually like it if you don't know where the notes are, because then you do it intuitively. You're working out a new language, basically. New rules.

I would get my laugh insured! Because my laugh is very important: it's a million dollar laugh, so if my vocal chords make my laugh any different, then I'm going to have to get insured.

We have jokingly said if you've got good hair, can sing and know three chords, you can lead worship at First Baptist Houston or wherever. But that's kind of scary, putting somebody on stage just because they have a good voice. Do they know theologically and spiritually what they're saying and why they're doing it?

My stepfather met my mother when I was seven years old, and he was a guitar player. So he caught me messing with his guitar, his electric guitar, and he tried to show me some chords, but my hands were too small.

I started playing bluegrass with my family, so there were the G, C and D chords. I was playing a Martin acoustic because that's what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.

My course is about really working on a sheet of music. You work out the chords, which note complements the other, and how they will make the feeling of tension, the feeling of resolution. It's all about harmonization. That's more of the theory of notation and everything rather than practical. I don't play any instrument.

Soft as Memnon's harp at morning, To the inward ear devout, Touched by light, with heavenly warning Your transporting chords ring out. Every leaf in every nook, Every wave in every brook, Chanting with a solemn voice Minds us of our better choice.

I tend to be freer on the piano. I never took guitar lessons, so my reach exceeds my grasp - what I hear in my head I don't always know how to play. But I love to play over something else. I'm not a self-starter. I get kind of bored with the same three folk chords that I know.

Bill Gates recently picked up the ukulele. And Warren Buffett is a huge ukulele fan. I even got to strum a few chords with Francis Ford Coppola. It blows my mind that these people, who have everything in the world they could want, have picked up the ukulele and found a little bit of joy.

I listened to all those blues records. They were great - Clapton, John Mayall. Then eventually I heard Genesis with Peter Gabriel, and I didn't really understand the difference then, but something struck me about the inversions and the diminished chords... they weren't as bluesy, and I loved it. I found out, that was very baroque-influenced.

Writing is a perpetual choice between a thousand expressions, none of which satisfies me, none of which, above all, satisfies me without the others. Yet I ought to know that only music permits a succession of chords.

I don't doubt that at the dawn of martial arts, the main goal was to beat up one's opponents in the most effective way possible. But then, indirectly, the alchemy of martial arts began to strike some chords deep within the spirit of many individuals, transforming living war-machines into poets, artists, and philosophers.

'Lucky Man' I wrote when I was twelve years old. I wrote it when I first was given a guitar by my mother. I only knew four chords, but I used them all to write that song. And it just stayed with me, stayed in my head. I didn't even write it on a piece of paper. I remembered it.

It's dedicating yourself to your craft. Spending thousands of hours in a studio learning how to write a song, learning how to play different chords, training yourself to sing. You know, to get better and better.

I live in Nashville, and I don't know how many people there would call me country. I really started in punk and anti-folk, but one of the reasons I originally gravitated towards country music is because most of those songs only use three chords. That was the easiest place for me to start, but I'm always trying to expand what I do.

I will say that I know Nirvana did a show and played a few chords from 'More Than a Feeling' before they did 'Teen Spirit,' and it wasn't very good. But in all seriousness, 'Teen Spirit' was a great song. If subconsciously or somehow I had any influence on that, I'll take that as a compliment.

The mystic chords of memory, stretching from every battle-field, and patriot grave, to every living heart and hearth-stone, all over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature. --as quoted in THE RIVER OF WINGED DREAMS

Elvis came along when I was 10. My father gave me a bass ukulele. I taught myself how to play from a book to play some chords, so I was laying down 'Hound Dog' and things like that when I was 10 years old in 1955. That's the way I was. My ear was glued to the radio. I knew right then what I wanted to do.

A friend of mine, that I had known for some time, came up one day with an old guitar. I don't know where he got it, I don't know how long he'd had it, but he knew about two chords on it. He proceeded to teach them to me, and then we proceeded to go crazy over music.

You see people you identify with, and you take pieces of people you like and shape who you are. Like, I sound just like my dad. But that's literally my vocal chords. I can't sound like anything else... I sound like him, but I act like myself.

I've tended to write lyrics alone. The emotion of the melody comes first. But what stimulates us are usually these dreamy minor chords. We all feel we're an emotional band as far as writing, but the specific emotions tend to be of a melancholic, or of an almost sinister-yet-beautiful nature. I never think of our songs as being about boy-girl relationships or ultra-female. The music comes from a universal place.

Time plays like an accordion in the way it can stretch out and compress itself in a thousand melodic ways. Months on end may pass blindingly in a quick series of chords, open-shut, together-apart; and then a single melancholy week may seem like a year's pining, one long unfolding note.

I grew up playing the saxophone. I joined the jazz band in high school, but somewhere along the way I realized the guys who strummed acoustic guitars at parties were the ones who got the attention. So I asked a friend to show me a few chords, and when I moved to L.A. I spent a lot of time practicing my guitar.

A good song is a nice set of chords and some good lyrics; a great song is a song that reinvents itself over time. That you can always find something interesting in the more you listen to it - it keeps revealing something to you.

I thrive on change. That's probably why my chord changes are weird, because chords depict emotions. They'll be going along on one key and I'll drop off a cliff, and suddenly they will go into a whole other key signature. That will drive some people crazy, but that's how my life is.

I don't sing now, because I had polio when I was 15, bulbar polio. This was when the epidemic was happening. And I was lucky that it didn't affect my lungs or my legs. It went to my face and kind of paralyzed my vocal chords, and I wasn't able to sing. And they said I was very lucky that I would get over it, which I did.

I trust if your life is right, the right things will happen at the right time. If the chords are in harmony inside, I think other things will happen in the same way. That sounded highfalutin' to me once, but I believe it now.

I played violin from when I was about eight to thirteen, so I could read a little bit, but if you put a piece of music in front of me now, I would probably know the notes, but not the timing, how they're supposed to be played, and I just don't know how to read chords. If I'd stuck with it, I'd probably have more jobs.

It struck me recently, that one should really consider the sequence of a protein molecule about to fold into a precise geometric form as a line of melody written in a canon form & so designed by Nature to fold back into itself, creating harmonic chords of interaction consistent with biological function

When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.

No man can force the harp of his own individuality into the people's heart; but every man may play upon the chords of the people's heart, who draws his inspiration from the people's instinct.

I can't write anything for myself. I can write when I hear like [John] Coltrane play something; I used to write chords and stuff for him to play in one bar. I can write for other people, but I don't never write for myself.

The biochemistry and biophysics are the notes required for life; they conspire, collectively, to generate the real unit of life, the organism. The intermediate level, the chords and tempos, has to do with how the biochemistry and biophysics are organized, arranged, played out in space and time to produce a creature who grows and divides and is.

I sometimes try to write something that is actually really simple and I can't do it. So, then, it's not simple anymore. It's really hard and it gets all messed up. I sometimes sit down and try to write a song with just three chords and it doesn't work.

The lyrics seem to follow the music, and that's usually how I write. I write more about what comes out of my mouth while I'm writing the chords, and that seems to work better than filling up notebooks of what I think is really cool poetry, and try to put it on a song. That usually sounds like it's taped on.

I wasn't popular in school, I was Mexican, I was all these inappropriate things. I started playing the ukulele and taking it to school, and I realized people liked listening to it. I would play it to comfort myself at home, and I'd play rhythm and blues songs that had four chords. That's how it started.

I saw that something changed in terms of the way I approach writing. I don't know. Before, everything was just sort of pieced together; and more and more nowadays I'll have complete songs - chords, lyrics, a melody - and we'll apply to those songs what we feel is required. That has happened much more on Humbug album than on any of the others.

If you take the duality of things - like sunny-sounding music with weird lyrics on it - it makes this dichotomy. I've never had that because when I make music, I make major chords, happy-sounding stuff, and my lyrics are positive.

Open Wings - Broken Strings is an opportunity for you to get to the heart of your favorite artists and their songs in a unique and compelling way. Stripped down, intimate and acoustic, you'll hear the strings on the guitar vibrate and buzz, the vocal chords hum and pulsate as the songs you love come to life like you never knew they could.