Quotes of All Topics . Occasions . Authors
Ever since 'Hail to the King,' we've been more cognizant of our chord progressions, our key changes, drama in songs, a lot of dynamics - we've really added a lot of that in there.
The rhythm, the sounds, the tonality, the chord sequences, the individual effect of each instrument and each section of the band - I'm talking about a whole continent in my music.
Free music, to me, is music without boundaries. It's music that... says you don't have to play a blues in three chord change. See what I'm saying? Music that can go from any range.
Musicals allow a depth of emotion that you don't get in another form of acting, the chord changes, the lyrics really affect people, so that in two hours, you've forgotten about things.
I went to my friend's house one day, and he had an electric guitar he had just bought with a tiny little amp. I turned the volume up to 10 and I hit one chord, and I said, I'm in love.
The topic of leadership is a touchy one. A lot of leaders fail because they don't have the bravery to touch that nerve or strike that chord. Throughout my years, I haven't had that fear.
Being on the stage is the one place I don't get nervous. Before the show is another story, but once I'm up there, and the first chord hits, I go to this other place. It's like a dream land.
There's a difference between the blues of the New Orleans guys and anyone else and the difference is in a chord, but I can't figure the name of it. It's a different chord, and they all make it.
To be honest, I don't have a particular recipe, but I normally start with the chord progression and then I build it from there. I listen to a lot of jazz, so the chords are really important to me.
To get a feel for the right-hand picking technique, you have to let the pick 'fall' from string to string as if you were strumming a chord. It's important that you don't separate the pick strokes.
Trust me, the only real way to understand 'Chic' is in highfalutin terms. Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.
I'm definitely responsible for coming in with some basic chord changes, or ideas. Everybody in the band looks to me to come up with the basic seed, so it's not very productive to come in with nothing.
We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.
You can never predict success. You can never predict another person liking what you are doing. But if you are an interesting storyteller and if you strike the right chord, perhaps you will be understood.
Feeling has as much to say as the words do. You can have the greatest words in the world and if they're not believable, they don't strike a chord and they're not said convincingly, it's not a great song.
A movie can and should have some real dissonance throughout - rage, heartache, tears, conflict, catharsis and all the other elements Aristotle demanded of a good story - but the chord has to be resolved.
Just because you can leap off a drum kit doing a scissors kick while hitting a chord, people expect you to be an extrovert socially. But I'm not always comfortable with the idea of small talk at a party.
Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
I love to zoom in and study why a chord is making me feel a certain way, but then I've learnt to zoom out again. Because if I'm not actually feeling it, there's not much point making it in the first place.
My dad had a guitar that he gave me. I went to Walmart and bought a chord chart and hung it up in my room, and I was just trying to figure out how to play the guitar and put words with what I was learning.
I was working like a dog as a housekeeper, barista, nanny, cook, so I could save enough money to really sit with my instruments. Whenever I had 20 minutes, I would practice a new chord or write a new verse.
I associate a family as the safest place in the world. So when it comes to things that scare me, introducing instability and tension into where you're supposed to be the safest really strikes a chord with me.
I never made this film with the motive of making money. I wanted to make a different film, which would strike a chord with the audience. I'm extremely happy that 'Mithunam' succeeded in what it wanted to achieve.
For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works, or it doesn't.
The world is never quiet, even its silence eternally resounds with the same notes, in vibrations which escape our ears. As for those that we perceive, they carry sounds to us, occasionally a chord, never a melody.
I am into drones and one chord freak outs and the paintings I am into are more minimal things the New York colour field painters and the soviet schools of the early/mid 20th century suprematism and constructionism.
I don't really have a favorite genre. I could listen to a rock song, a metal song, jazz, pop music, whatever. For me, whatever style it is, it always depends on the chord progression, the lyrics, and the melody used.
'Entourage' is almost required watching in L.A., and everyone seems to have story suggestions for the show itself, which is amazing because it makes you realize the show's really struck a chord and found its audience.
Talking about covers, whether visually or sonically, if a particular combination of notes struck a chord in your heart in a way that you want to be a part of it by covering that song, then there's nothing wrong with it.
When I picked up guitar, it wasn't like, 'OK, I'm going to be Kenny Chesney.' It was like, 'I want to play a chord,' and then it was like, 'I want to play another one, then play a song, then sing while playing the song.'
I've seen some female players, and they get up there and play an A chord and leave... and it's not a good representation. You can take it seriously and love it as much as a guy loves it, not just to get up there and pose.
When my dad played me 'Walking Man,' I heard those chord changes and that melody, it completely blew me away. Maybe you wouldn't really hear the James Taylor influences in my music, but they're definitely buried in there.
It's like a piece of music; you never lose sight of the theme. Each scene pushes off to the next like music builds and you can almost hear the next chord progression, so it has a strict structure, which is very compelling.
I just couldn't take school seriously: I had this guitar neck with four frets which I kept hidden under the desk. It had strings on it so I would practice my chord shapes under the desk and that's about all I did at school.
I loved the idea of Bowie as an artist, with his Burroughsian cut-up technique, creating these undecipherable, abstract songs, where we all projected our own meanings onto his jarring word choices and unexpected chord changes.
I definitely don't see myself as much of a singer, because my upbringing is really based around the guitar, learning chord progressions and that sort of thing. So the singing aspect of what I do has been a secondary adventure.
If anything, even though I can play in the sort of standard string-bending style, in the B.B. King mold and all of that, I've always had a great interest in the more primitive playing, the open chord playing, rhythm and figures.
I found that the same things I loved about performing were the things I liked about directing and creating a piece - striking a chord that was in tune with the world and was reflecting back what I saw, just from a different angle.
My real name is Chord Overstreet. I actually got my name because my dad is in the music business as a songwriter. I was the third one in my family born, and there are three notes in a chord, so that's how they came up with my name.
Sweep picking is when the right hand sweeps down and up the strings in succession. But when you do sweep picking, one note rings into the next, and it sounds almost like you're playing a chord, and that's exactly what you don't want.
It's very much a piece of myself when I write a song. I don't mean to say it's very personal, like the lyrics mean something personal to me. When I write a song, that's my taste in music - my taste in chord progressions and melodies.
I have heard from many readers since 'The Girl in the Blue Beret' came out. The story of my airline pilot, former B-17 bomber pilot Marshall Stone, on his search to find the people who helped him during World War II has struck a chord.
I came up with a 'forecasting cell,' which is basically a mixed intention cell or chord that is a complete hybrid of a consonance and a dissonance, and what that does when you are improvising is lead you to where you are supposed to go.
The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.
I do believe that a poet would possess a stronger intuitive sense of phrasing with a rock song. There is a way to tap into the emotions of an audience simply by the cross of a certain phrase, even a single word, against a certain chord.
If there's something I really like or a chord progression, I write a note in my Blackberry, and maybe a year later, I'll revisit it and ask, 'What did I like about that?' I really don't try to think too much about it. I like to be fresh.
I discovered the same thing Gram Parsons did, that soul music and country music are practically identical. Based off of the same chord structures, and the songs are of heartache and loss. The main connection is they both came up in church.
I'd have these weird experiences where I'd just be walking down the street with this chord progression in my head, this happened more than a few times, and I'd walk home and find a fax in my machine and it would match the music in my head.
'Rocket Boys,' for one reason or the other, just happened to strike a chord across country and across world, maybe because it's set in a little coal-mining town. That's why NASA likes it - most of the engineers come from towns very similar.
When I'm writing with Tony Iommi, for example, still it's very easy. We go in, and I know exactly what his style is. It's very distinctive, and you know exactly what he's looking for, and we know exactly where we're going from the first chord.