Top 1200 Voice Singing Quotes & Sayings - Page 5

The very best thing that could happen to a voice, if it shows any promise at all, is when it is very young to leave it alone and to let it develop quite naturally, and to let the person go on as long as possible with the sheer joy of singing.

There is nothing whatsoever friendly about Slipknot. Corey may have a singing voice, but it's always been done with so much passion that it's always been brutal.

You must learn to hush the demons that whisper, 'No one wants to read this. This has already been said. Your voice doesn't matter.' In the rare moments when the voices finally hush, you might hear the angels singing.

On the show [the Voice] I obviously wasn't allowed [singing my own original music], because it's not that type of show. I think it's really cool that I get to do my own thing now.

The one thing I find about singers in the business is that they often don't get the right education. I hear a lot of them singing and when they get to 30, 40 years old they wont be able to sing because they are not properly trained. A lot of people singing from their throat instead of singing from their diaphragm.

The history of your world is filled with the voice of the victor, the voice of power, although it was not always a voice of sanity, by any means.

My interest in women's voices started when I was in the boys' choir and we were singing in opera choruses. That was my first close-up experience with the female soprano voice. I was amazed at how it could be within the same scale but so different in quality.

The fact that I'm obviously well enough to be playing - in fine fettle and fine singing voice, yet I am not playing with The Libertines - is a sore point.

Those old Appalachian singers use a falsetto sometimes. They can change their voices to sound high or low or really scratchy. When you're singing, usually you're trying to express some kind of pain or joy. I think that voice allows me to do a lot more of that.

When I hear someone, instantaneously, I'm like, 'Who's singing?' You're giving people so much of yourself, and my voice is the most natural, distinctive tool I have. It's up to me to express myself on a wider scale than just writing vocal melodies and lyrics.

When I recorded 'Cooler Than Me', I had been singing for like, three months at the most. I was just a producer experimenting with my voice on tracks, and now I'm, like, a really good singer in a legit way.

Instead of letting anxiety run you, try voicing it. Voice it in your comedy. Voice it in a script. Just voice it, and it'll help you release it.

I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.

My mother gave me singing lessons; that was totally painful, because I couldn't do what she wanted to hear. She used to say: there's more there, there's more voice but I just didn't want to give it to her.

For years The National has been labeled as a gloomy kind of rock bandI think mostly because of Matt’s deep baritone voice, which even if he is singing about unicorns and butterflies, he just sounds sad most of the time.

I know what it was like to not have a voice, so my daughter has a voice. I veto that voice when needed because at the end of the day I am the grown-up, but I hear her.

My singing voice had rescued me from the scene I was in at school - I was an unpopular, bookish kid who had an indeterminate ethnic background. I became fascinated with women sopranos because they had a future that I didn't as a singer.

A lot of people think the blues is depressing but that's not the blues I'm singing. When I'm singing blues, I singing life. People can't stand to listen to the blues, they've got to be phonies.

I think I prefer singing in falsetto. I like the way it sounds. It doesn't sound like my natural voice. It sounds like a character.

I always vaguely knew I wanted to perform, but I haven't got the greatest singing voice and my dancing isn't up to scratch. Acting was really the only alternative. My parents have been really supportive throughout.

Singers actually used to begin singing at a much younger age than they do now. I would say for me, I started late. But it's not unusual. I discovered I had a voice. I wanted to be a pianist when I was seven, and circumstances didn't allow that I studied it.

I know that I can sing really loud. It's like having that really big Evinrude engine on the back of your fishing boat. But I've been trying to be more dynamic with my voice, and not just singing on 10 all of the time out of terror.

Whitney Houston's voice was the very first voice I fell in love with. She was the voice that made me want to become a singer.

Establishing a style is important, it really is, but a lot of singers get so involved with their instrument, and more so than they do in what they're singing. I think you really have to think about what you're singing. You have to make the public believe what you're singing. And in order to do that, you have to believe it.

I studied voice and piano as a child, although, at least with voice, you start over at puberty, because your voice completely changes.

First of all, you have to understand that I'm like anybody else. When I hear my voice on a record I absolutely loathe my voice. I cannot stand my voice.

The voice of the people may be said to be God's voice, the voice of the Panchayat.

When I think about Oz, when he was a teenager, I'm just reminded of what an excellent blues voice he had. He had a large voice. When we did the Aynsley Dunbar song 'Warning' and 'Black Sabbath,' his voice is so right. It's really round, and it has that pain from within in his voice.

I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.

I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.

There will be no more protests. No more dissension. No more violence. There will be only one voice. The voice of Ravinia. The voice of Halla. Your voice." "There goes freedom of speech," I said.

Singing with Aaron Neville, he pulled stuff out of my voice I never could have gotten, because if he's providing XYZ, I have to put in ABC, and usually I don't have to put in ABC.

The voice of the intelligence is drowned out by the roar of fear. It is ignored by the voice of desire. It is contradicted by the voice of shame. It is biased by hate and extinguished by anger. Most of all it is silenced by ignorance.

I sang in the coffee houses . . . in the early 60's with no idea of success in terms of records or television. I just thought I was a storyteller. I had this deep, bassy voice. But I had incredible passion for the music I was singing.

With 'Fate's Right Hand,' I think I reached a level of completeness in forming and articulating ideas at around the same time I reached a place where I could match it with my singing voice. It was a kind of coming together.

I love voice over work. To me, voice over and animation is such an art, because you focus solely on your voice. You do not focus on how to speak, combined with facial expressions, movement, etc. You as the actor need to convey all those things with only your voice.

I think playback singing has a lot to do with voice acting. I would suggest to all the youngsters to understand the character, situation, and the story behind the songs. That is when you can add soul to the rendition which, I think, is missing in today's music.

In the bonds of Death He lay Who for our offence was slain; But the Lord is risen to-day, Christ hath brought us life again, Wherefore let us all rejoice, Singing loud, with cheerful voice, Hallelujah!

It's tricky when you're doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don't have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

My singing technique is really strong and I have to thank my teachers for really instilling a sense of discipline about how to sing properly and how to maintain your voice in a run.

I was never trying to be the voice for anybody else. I was just trying to sing about what I was going through, and was singing about those things specifically because I knew there was an audience not being served.

I know that I can sing really loud. It's like having that really big Evinrude engine on the back of your fishing boat. But I've been trying to be more dynamic with my voice and not just singing on ten all of time out of terror.

If you don't ever stop singing, your voice stays in shape. It's like the marathon runner. You've got to run, run, run to stay in shape.

To me music is the centre of the universe and the voice of the spirits and the voice of God and the voice of all the people who have lived and died...At least the ones I'm connected to.

There are certain recordings where my voice sounds good to me. Singing live I really enjoy, but I don't know how good it sounds.

I'll meet listeners who tell me what a great voice I have. But I don't have a great voice for radio. My voice is the utterly normal voice, but sheer repetition has made them think it's OK. Mick Jagger once was asked, 'What makes a hit song? He said, 'Repetition.'

Ladies, use a loving voice, use a respectful voice, use a godly voice, but don't lose your voice.

My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it. I felt a calling.

It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

Feeling is the voice of the body; reasoning is the voice of the mind; conscience is the voice of the spirit.

I consider myself an actress first, a dancer second, and a singer third. Why? Because the dancer needs a reason to move-that's the actor informing the dancer. So I worked on my acting and gradually developed a singing voice.

I'm a lyric soprano. I can try to step outside that and do different kind of singing, but it's not something I can sustain over the long haul, and what is good for your voice is good for your career.

Everything about me is so odd: I look weird. I have a nasal voice. I'm arrogant. my singing raises the dead from the grave. I am inspired by Altaf Raja, as one report mentioned, and so much more. I have stopped fighting all these rumours and remarks.

When I was studying in secondary school, a teacher recommended me during a singing contest. I took the championship because of my voce that I take proud of. Then I thought maybe my voice is not bad,then I wanted to be a singer.

I was clearly brought into the whole thing about acting by my mother. She loved the theater. She had a very pleasant singing voice, which she used to sing for her ladies' club.

When there is a voice in a piece of music, we tend to focus on the voice. That is probably something from when we were babies and we depended on hearing our mother's voice.

I love to listen to pop music and I admire people who do that, but I don't think I would ever be a very good pop star. I always leave that singing voice for the shower! I wouldn't put it out in the world!

So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.

And the true realism, always and everywhere, is that of the poets: to find out where joy resides, and give it a voice far beyond singing. For to miss the joy is to miss all.

I have a Bible study that my friends and I go to here in L.A. I go to church every Sunday. I've always been a believer. I love singing. I don't have the best voice - I just love getting my emotions out.