Top 1200 Handwritten Notes Quotes & Sayings - Page 19

Scholarship was one thing, drudgery another. I very soon concluded that nothing would induce me to read, let alone make notes on, hundreds and hundreds of very, very, very boring books.

I was teaching myself notes from three and then by seven I'd figured out how to play some chords, and at school I used to love writing poems and poetry, so I guess I kind of put two and two together and that formed my songwriting from an early age.

They're the salt of the earth, those girls. They don't sit each night and compare notes on groups, criticising lyrics, asking if it's valid. They just play the record... yeah, and maybe they dance. I love them. I love them dearly

What a joy it is to feel the soft, springy earth under my feet once more, to follow grassy roads that lead to ferny brooks where I can bathe my fingers in a cataract of rippling notes, or to clamber over a stone wall into green fields that tumble and roll and climb in riotous gladness!

I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.

There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard.

The evasion of justice within academia is all the more infuriating because the course of sexual harassment is so predictable. Since I started writing about women and science, my female colleagues have been moved to share their stories with me; my inbox is an inadvertent clearinghouse for unsolicited love notes.

I love my stuff - you're not supposed to say that. But because I'm performer as well as a writer, I'm constantly interacting with my own work. I always get to find these little secrets that I left for myself, little notes - I find them all over the scores.

When I became more involved in music, I had to give up some of my writing in the literary sense. However, on occasion, I would write something for my own pleasure or I would write notes and introductory remarks in the songbooks I put together.

The mature person becomes able to differentiate feelings into as many nuances, strong and passionate experiences, or delicate and sensitive ones, as in the different passages of music in a symphony. Unfortunately, many of us have feelings limited like notes in a bugle call.

And, so, when I picked up the guitar, suddenly, just playing a couple of notes really, really spoke to me. It was almost like I should have been doing it prior to that. You know, it was something that just felt really natural.

Exercise the writing muscle every day, even if it is only a letter, notes, a title list, a character sketch, a journal entry. Writers are like dancers, like athletes. Without that exercise, the muscles seize up.

I don't think I'm a singer that likes to flex my vocals. I'll do some runs and a bunch of high notes, but that's it. I really pride myself and I really work on just trying to sing. Like emotions. Just using my voice, not doing anything extra.

The film 'The Diving Bell and the Butterfly,' based the book of the same name, has a line that enlightens and comforts me. The protagonist, who has lost all ability to move except one eye, discusses his role as a father. He notes, 'Even a fraction of a father is still a father.'

There are only so many notes so there must be only so many melodies.

Notes on 'Camp' talks a lot about homosexuality and androgyny and performance and a false seriousness, nit-picking the trivial things and making them funny. And that's exactly what drag does. Reading through the entire essay I couldn't help but relate all of it back to drag.

Like a Star' has a very simple melody, and when you play it, it's only about three notes for ages, and it's quite boring. But when you hear the chords, the chords are sort of different than the melody, and it's pulling it around and making it mean something else.

I wrote a lot of stuff quickly: pages and pages of notes that seemed pretty incoherent at first. Most of it was taken from the radio because -suddenly being a parent- I'd be confronted by the radio giving a news report every hour of the day.

My favorite artists are able to take things to the edge or just over the edge. Miles Davis and Duane Allman, for example. It's about not playing too many notes. Those guys had lots of phases to their careers, but they always played with economy and intelligence.

The sale of Treasury bonds, notes, and bills finances the U.S. government, and those securities are, in turn, a primary vehicle for savings for a wide range of U.S. households. Treasury securities are also an important source of collateral within the financial system.

When I was younger, I had conversations with friends about wanting to create something different. Every young musician probably thinks that. But it's difficult to do, because there are only so many words, notes, melodies, songs. But as soon as I stopped thinking and started feeling, it worked. I didn't realize it till I was done.

Schiller never wanted to replace the moral with the aesthetic but he did want the moral to be one part of the aesthetic. He rightly notes the aesthetic dimension of morality, that we use concepts like grace to characterise people who do their duty with ease and pleasure.

My first instrument was bass, and the first thing that I remember learning to play that was better than a few notes was Fleetwood Mac's 'The Chain.' If you're the guy who penned that bass riff, then you should probably be in some sort of fantasy band.

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it. And then, there are notes and you change it, in the conventional studio system.

I think it's important to always stay critical. But rather than dwelling on it and wishing I could change something, it's important to just take those lessons learned and those new notes and apply them to the next thing.

I like the concentration, the crush; I like working with language, as others like working with clay, or notes.

You do a draft and you get more notes. You start to get the feeling that this either isn't going to happen or it is going to take a really long time to happen, and I never felt that with this [the Girl with the Dragon Tattoo].

I know that I was conscious of all the aspects of the war, having had cousins who were in the army, who would send me notes and memorabilia. I began to collect things that they would send me.

I take it so seriously as far as meditation, notes, visualization, preparation, everything. I take it a lot more serious than a lot of people that play this sport. I'm obsessed with the game that I play.

I think emotion is just anything that is emotional, you know, people can feel with music. Music is already so emotional, like the strings, the chords, and the notes and the melodies and stuff. And then you throw on a topic that everyone can relate to. That's gonna be real music.

When I was writing Love and Lies, I was going over a lot of my old notes to see if there were any insights in them. I was obsessed with Friedrich Nietzsche, Søren Kierkegaard, Arthur Schopenhauer. These are not guys that you want to go to for understanding the nature of love. They clearly didn't get it.

I actually feel I'm in a much better place than I've ever been because I'm thankful people still love the songs that I've written, and they seem to like me. And they come to the shows in droves, and they get all excited, and I can still hit all the notes, and I don't look terrible.

I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.

Keeping a [journal] need not be a major chore-just a few minutes of notes each day can be valuable. Writing crystallizes insights, fools the defense of forgetfulness, and builds a collection of ideas and reflections that can spur further insights even years later.

Generally I try to be on set as much as possible, especially during the early part of a season. I read all of the outlines and scripts and look at the auditions and the cuts for my other shows and give notes on all of that. There's a lot to do, but I enjoy nothing more than being on set because that's where the magic happens.

I wanted to be a poet. I fell in love with poetry around eight years old, but not through literature. Instead, it came through hip-hop lyrics and my obsession with reading liner notes. Queen Latifah's 'Black Reign' is the album that stands out the most.

I write everything down. I e-mail the second I think of something, or I write notes in my BlackBerry calendar. I set up reminder alerts on my phone. And I have a notebook by my bedside so I can write down any last-minute ideas.

My writing process hasn't changed - it's is the same whether I'm working on a Y.A. novel or, as now, a new novel for adults. A lot of reading, a lot of research if the subject warrants it, a lot of sticky notes and scraps of paper - and get to work.

I like albums. I like holding them, seeing what they're all about, you know? I like reading liner notes. Even if it's a CD, you're getting kind of an idea of what the band is coming from. Or what they want you to think they're coming from. I like that.

I'm learning how to work my voice. I got some songs that you probably wouldn't even know it's me singing on there. I will sit there and take 20 takes until I hit that note right. It's different on stage - you've got to hit the notes that one time.

If, in the schools, the classical language would no longer be taught, whom could we entrust with the writing of memorials, documents, letters and notes in the public service? How could we possibly assign important offices and heavy responsibilities to someone who cannot even write fluently?

Searching for music is like searching for God. They're very similar. There's an effort to reclaim the unmentionable, the unsayable, the unseeable, the unspeakable, all those things, comes into being a composer and to writing music and to searching for notes and pieces of musical information that don't exist.

Colour, Figure, Motion, Extension and the like, considered only so many Sensations in the Mind, are perfectly known, there being nothing in them which is not perceived. But if they are looked on as notes or Images, referred to Things or Archetypes existing without the Mind, then are we involved all in Scepticism.

In the early 60s, you read your essays to your supervisor rather than hand them in. I was both lazy and clever, and realised I didn't need to write essays at all, I could simply talk with some notes in front of me.

There's power in the collective. If you don't believe me, just watch a symphony orchestra with a conductor and 120 people who are thinking about exactly the same thing at the same moment - no babies, no stock markets, no mortgages. Just 32nd notes.

I avoid listening to too many people's comments about my script. I have learned to take in what is of use. It's too frustrating looking at somebody's notes who didn't get what you were doing. If somebody says, 'This stinks, and here are all the reasons,' that's not going to help you.

I love finding out how authors work, because it can either go full Carrie in 'Homeland,' with loads of Post-it Notes and string on the wall and they know everything that's happening in the plot - or they let the characters tell them where they want to go and what happens next.

I try to pay attention to language. I think that as a general rule, we as writers talk too much and we should listen more. I read my dialogue out loud to myself because I think that's when you catch the wrong notes and the wrong tones.

Martial music has sudden and strongly marked transitions from one note to another which that style of music requires; while in that which is intended to move the softer passions, the notes imperceptibly melt into one another.

Music has brought me some of the highest moments of my life. I don't even hear the music. I don't even hear the notes. I'm not aware that someone has turned on a tape machine - I'm in another world.

If you start out with a song sounding like Britney Spears, and you end up with a song sounding like Pauline Oliveros, you'd better have pretty good liner notes explaining what on earth you mean.

[in the sleeve notes for The Beach Boys 1964 album, "All Summer Long"] They say I live a fast life. Maybe I just like a fast life. I wouldn't give it up for anything in the world. It won't last forever, either. But the memories will.

That's how I make work. Along the way, I take notes, I read about history and popular culture. Sometimes I act out things in the studio. I go back to my mother's hair salon so I can hear three voices going all at once. I pull inspiration from everything.

Everything perfect in its kind has to transcend its own kind, it must become something different and incomparable. In some notes the nightingale is still a bird; then it rises above its class and seems to suggest to every winged creature what singing is truly like.

You are a valuable instrument in the orchestration of your own world, and the overall harmony of the universe. Always be in command of your music. Only you can control and shape its tone. If life throws you a few bad notes or vibrations, don't let them interrupt or alter your song.

We listen to a lot of classical and a lot of jazz, and so you get some funky notes here and there. And we get a little experimental in some of the deeper tracks.

When I was eight, my piano teacher played seven or eight notes, and I sang them. She stopped and looked at me in shock! That was the first time I'd gotten that reaction. I'd had looks of horror, but never shock in a positive way.

I try to remember the things that keep me peaceful, happy, and compassionate. I constantly write notes on my phone about little discoveries I make in terms of perspective and habitual thought patterns. My memory seems to let me down, so this really helps me.

I live in this apartment building, and everybody who lives there thinks of me as a housewife. People drop their babies off with me. Or I get notes: 'I'm going to be gone for three days. The keys are under the mat; take care of the cats.' Because they all think I'm home all the time.

What I learned about music is that it can have nothing to do with words, instrumentation, image, message, or meaning. The meaning is the melody, the notes, the rhythm - music for the sake of its own beauty, with nothing more required to express itself.