Rhythm Quotes - Page 14

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Rhythm is born in all of us. To be a desirable dancing partner, you don't have to do all the intricate fancy steps that happen to be in vogue. All you have to do is be a good average dancer, and anybody who spends the time and effort can accomplish this.

Dancehall has always had a homophobic problem, but you go to dance parties in Jamaica, and some of the biggest dancers are kinda gay, just not outspoken about it. Dancehall was the first kind of music I was DJing, and it was always more about the rhythm.

You know, rap is sort of like a form of talking, right? So it's like you can hear, you know, the slaves doing it. You can hear, like, you know, Africans and Jamaicans doing it just kind of as, like, a rhythmic, poetic conversation, you know, to a rhythm.

To illustrate what I mean, an apt dancer may be in thorough unison with the others in that particular group, and at the same time reveal a difference in dancing temperament, rhythm or technique; she may phrase, accentuate or actually interpret differently.

On the off days, you have to come in and try to maintain your rhythm, just try to keep everything together. I sometimes come by myself, or some of my boys, get up a few shots, not too much, before or after practice. I always find time to get some shots up.

I was taking my first uncertain steps towards writing for children when my own were young. Reading aloud to them taught me a great deal when I had a great deal to learn. It taught me elementary things about rhythm and pace, the necessary musicality of text.

Poetry has the ability to create entire moments with just a few choice words. The spacing and line breaks create rhythm, a helpful musicality, a natural flow. The separate stanzas aid in perpetuating a kind of incremental reading, one small chunk at a time.

There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.

You feel it in there, pacing your heart sometimes, and it has what's called a defibrillator. Should I suffer that arhythmia, it's generally sudden death. And the paddles that are internal shock you back and restore your rhythm to its normal and natural state.

It's not all about strength, there is so much more involved, getting the horse into a rhythm, getting the horse to try for you, it's being patient and I'm so glad to win Melbourne Cup and hopefully, it will help female jockeys from now on to get more of a go.

One very important side of my playing lies in rhythm; I have a very percussive style. It's one I've developed with Dream Theater over the years, and requires the guitar to be very locked into the rhythm of the drums... way more than what would normally entail.

We've learned that musical ability is actually not one ability but a set of abilities, a dozen or more. Through brain damage, you can lose one component and not necessarily lose the others. You can lose rhythm and retain pitch, for example, that kind of thing.

The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.

By giving the public a rich and full melody, distinctly arranged and well played, all the time creating new tone colors and patterns, I feel we have a better chance of being successful. I want a kick to my band, but I don't want the rhythm to hog the spotlight.

Don't edit yourself too much. Don't be afraid of looking stupid, 'cool' is so rarely funny I think. And just do it! Do as many gigs as you possibly can, and watch as many gigs as you possibly can. You'll get the rhythm of it in your head and make lovely friends.

No matter how wonderful the story, it has to move on something, and that is language. The words that I use, the pace, the rhythm and cadences all need to be there. If they're not there, the story is like a boat that just sits there and doesn't move on the ocean.

Some of my favorite experiences of art are when I am there but my attention has wandered. I think stimulation is overrated, and persistent stimulation is exhausting. You sometimes have to be banal, tedious: make the rhythm go soft and slow, give the mind a rest.

When you're first starting out, there's always the temptation to hide behind distortion because it lets you get away with murder. But, when it comes to rhythm work, you've gotta back off that gain control a bit, especially if you're playing with another guitarist.

I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.

And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.

Moving to Dubai at age 9 and then the Congo, they were two completely opposite countries. But that brought me to music and taught me things that I never would have learned otherwise. And it was always about the rhythm in those two countries - that's why I love them.

I put a lot of pressure on myself to do well and score more, and it will be a matter of time. Once you get back into that rhythm, you will start getting balls that drop to you in positions where it wasn't before. I do have that feeling that it is going to come soon.

I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.

I noticed a lot of guitar players neglected the rhythm part of rhythm guitar and decided I would try to focus in that. As my skill and knowledge of the instrument grew, I found lead started to come naturally. Sometimes I play guitar like a frustrated drummer. Ha ha!

So we take a lot of pride in that. It's really on us to turn this thing around. I think this last month we've done just that. We've pointed ourself in the direction that we want to be, and I think we're starting to head towards that. Right now we're in a nice rhythm.

I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.

I was a victim of a stereotype. There were only two of us Negro kids in the whole class, and our English teacher was always stressing the importance of rhythm in poetry. Well, everybody knows - except us - that all Negroes have rhythms, so they elected me class poet.

Stuff like Buena Vista Social Club and Fela Kuti were quite a main thing to my childhood. As soon as I reached an age where I realized that Fela was singing in English, when I got past his accent, I loved the rawness of it, and the funk and the rhythm and the melody.

If you have pendulum clocks on the wall and start them all at different times, after a while the pendulums will all swing in synchronicity. The same thing happens with heart cells in a Petri dish: They start beating in rhythm even when they're not touching one another.

When I came back from Bolivia, my Spanish was in some ways as good as my English. I am rusty today. But I am comfortable talking in Spanish. I am not flawless or fluent, but I am comfortable. It takes me a day or two speaking a lot of Spanish to get back into a rhythm.

I want to go back to the format that radio started with rock n' roll, with country artists and rhythm and blues with that oldies type feeling. I want to put it all together and create a Top 40 of rhythm and blues and country and straight blues with Wolfman at the reins.

I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.

In a soundtrack, you are in a way always relating with... a combination of different languages. It has to have the same path and same rhythm. Sometimes it's a polyphony of languages that have to work together in some way. With musical projects alone, you can be more free.

Every set has their own personalities and their own quirks. It's funny comparing starring in a show to going in and doing recurring work - there's already a rhythm that's been established, and people know each other so well. It's like being a guest in someone else's home.

It's very interesting, the joke comes first and then the wording comes within five seconds, maybe ten seconds. My thing is to get the joke across in as few words as possible. However, sometimes a word that's not really needed does help the rhythm of it. It's a gut feeling.

As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.

I searched YouTube for 'deaf music videos' and watched them with the sound muted. I noticed that though you could understand the words being signed, the sense of rhythm was lost. That's when I had the idea to create a video where you could see the sounds you couldn't hear.

I've always been a jazz fan, but I don't write much about jazz, because I don't have the chops. But it's really, really hard to write about improvised instrumental music when you don't have a good knowledge of harmony and can't identify rhythm signatures very easily either.

It's a magical thing, the guitar. It allows you to be the whole band in one, to play rhythm and melody, sing over the top. And as an instrument for solos, you can bend notes, draw emotional content out of tiny movements, vibratos and tonal things which even a piano can't do.

Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.

Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.

Throughout my whole life, as a performer, I've never played with a band. I've always played alone, so I was never required to stay in rhythm or anything. So it was a real different experience for me to start playing with a band. There were so many basic things for me to learn.

Some of the finest Shakespeare has been done recently by college theater programs. I'll tell you what these young kids have: They have a natural authority in Shakespeare. They feel a right to do it. And once they honor the humanity of it, the rhythm of the verse comes with it.

Obviously you have to have rhythm. If you have rhythm, then you can play anything you need. If you have rhythm and you love music, then play and play and play until you get to where you want to get. If you can pay the rent, great. If you can't, then you'd better be having fun.

Golf's ultimate moral instruction directs us to find within ourselves a pivotal center of enjoyment: relax into a rhythm that fits the hills and swales, and play the shot at hand - not the last one, or the next one, but the one at your feet, in the poison ivy, where you put it.

I feel like I have a lot of rhythm because I'm from the DMV. Because you got so many different types of music: Baltimore Club music, Go-Go, then you got the DMV rap music scene, then you got the DMV R&B music scene. It's a lot of music and it's a lot of taste that caters to most.

If you listen to my tapes, you'd hear 14 different ways to arrange the rhythm guitar behind the harmony vocal, and then 14 different ways with a different vocal. You'd have to really be a music lover to sit through that and find it entertaining. I enjoy it, but I'm easy to please.

The truly great players have this advantage over the rest of the international elite, gifted though those others are: they have the ability to slow down a ball travelling at 90mph, to move before others can, to make the world adjust to their rhythm rather than the other way round.

Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.

If you do live shows long enough as a comedian, you can still hear that rhythm of laughing. It's ingrained in you, and it's not something you can really teach somebody. It comes from doing hours and hours and hours and years and decades on stage, performing in front of live crowds.

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