Tempo Quotes - Page 2

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But there's actually a lot of punk bands out there that go out of the norm, use odd time signatures, or a lot of different tempo changes in a song.

You don't have a voice yet when you first come out. So even though I knew I had some deeper songs, my first album had to be about the tempo and the fun.

I think I can help push the tempo just a little bit... I feel I can get the ball after a rebound. Push the fastbreak. Push the tempo. Get guys some easy shots.

I've always been known for speeding up the tempo. To me, that's just the way you play the game - aggressive. There's no time to rest. You rest on the sidelines.

Little things that I've emphasized are turning in pockets and looking to penetrate and finding these spaces and playing at a good tempo when we're in the middle third.

It's important to have players like Schweinsteiger and Khedira, the connectors, the symmetry-makers in the game. They can take the tempo out of the game or pick it up.

I stopped making videos and commercials for a few months before I started films just to reset my clock because so much narrative filmmaking is a sense of tempo and rhythm.

I love going into the studio with just an idea of the direction. Like, I want this tempo... I love to start from scratch, and the tracks sort of take on a life of their own.

The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.

I try to look for tempo in my run-up to make sure my knees are lifting up instead of going long. That brings an energy to my run-up, try and make myself feel as tall as I can.

I got bored with the old way - it came too easy. I worked until I could play and chord changes at any tempo in any key, and then said 'What else is there?' Now I'm finding out.

In every country, you play a different style of football. Sometimes if it's really tactical, like it is in Spain, it seems like it slows down the tempo, but it's not really the case.

New Yorkers have their own way of speaking, their own tempo, and Texans are a lot like that. As much as you think Texas is one thing and New York is another, they're very much the same.

I'm a really new artist here. I would say that my style is an artist who can dance and sing. That's why my album is really upbeat. Maybe we will try slowly to do ballads or middle tempo songs.

As a producer, when I'm trying to make something soft, I start with a slow tempo. Then after that, it would be straight to acoustic guitar and vocals, or I'm going to go strings and just piano.

I think, from our point of view, my opinion is that La Liga, the tempo and physicality is completely different to the Premier League. Technically, some of the teams there are absolutely tip top.

Because my lower body is quiet, I need a full shoulder turn to generate power and speed. Keep your tempo smooth, and with the quiet lower body, you don't have to worry about losing your balance.

My da used to sing 'Take Her Up to Monto' to me when we were walking down the street - he still does, actually - because it's got a walking tempo, and I still sing it to myself when I'm walking along.

Sure we have skilled players, but the biggest thing might just be that we are so well conditioned and how we can play for 90 minutes at a high tempo which is needed in soccer at an international level.

My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.

When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.

All of the military services - land, sea, and air - spend a great deal of time awake. This is a direct result of the high tempo of operations we conduct while forward deployed well outside our national borders.

It is hard to play Blue Suede Shoes. I know everyone has heard it 10 million times, and that makes it even harder to play it, but there's a very laid back tempo on that. I was surprised at how slow it really was.

I have to think in terms of musical tempo. Let's say someone comes into a room and slowly sits down or someone rushes into the room and rushes to sit down. That's how to work out the tempo of the music you produce.

I don't even know if hip-hop is music anymore. It's definitely rhythm. It's definitely tempo. It's definitely beats per minute. But it's product. And television is product placement for the most part. It's not passion.

I like clever songs. I like songs that make people think and I try to have substance in all my records, even with 'Sweet Dreams' how it was a club record and it was up tempo, but it was melodic and it was, like, lyrical.

You know One Direction do a lot of up tempo songs, but when they did that Ed Sheeran song 'Little Things,' that was probably their biggest song off their last album, so it shows you that a ballad never goes out of fashion.

I started running to different albums, and I was starting with the short albums and moving on to the longer albums. I was interested in how they built up, in tempo and intensity. it made me interested in albums again, too.

Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.

I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter.

In an individual sport, yes, you have to win titles. Baseball's different. But basketball, hockey? One person can control the tempo of a game, can completely alter the momentum of a series. There's a lot of great individual talent.

I wanted to change up the tempo and setting of my comics in the sense of giving them some variety, for one thing. So where, for 'Slump,' the art was very America-esque, in the case of 'Dragon Ball,' I made it as Chinese as could be.

The Nike joint 'Classic' with Kanye, Nas, KRS-One, that was a remix - Rick Rubin did the original, and his was a double-time tempo; mine was a regular boom-bap tempo, and they liked it so much that we ended up doing the video to it.

I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.

One time, when I was in my teens, jamming in a Kansas City club, I was doing all right until I tried doing double tempo on 'Body and Soul.' Everybody fell out laughing. I went home and cried and didn't want to play again for three months.

'I Just Might Pray' by The David Mayfield Parade has an upbeat tempo without being sugary sweet. 'I Just Might Pray' is an enjoyable track and is easily listened to. As a side note, the video for 'I Just Might Pray' is absolutely adorable.

Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.

I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.

Often in Spain you're winning 2-0, there are 15 minutes left, and it's as good as over. You control it, and the tempo drops. In England, that doesn't happen. They put another striker on, long balls into the area, free-kicks, corners. They push you back.

Obviously, not playing a game before playoffs is something that happened, but especially going into the playoffs, you try to feel yourself out, where you're at, and then get right into game tempo and jump right in and play where you were before the injury.

Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.

Mentally, my key is just focusing on the little things I need to do in a race, whether that's tempo, turn entry, start speed, things like that. I'm not thinking about that much before or during a race. I just trust in my ability and all the hard work I put in and let the race come to me.

I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter. The conductor would just rip into me, and it lasted for years.

A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.

Well, you can't throw heavy, analytical, thought-provoking songs at people 24/7. It's been my experience over the last 20 years that on a rare occasion, in a live setting, if you can slow people down to listen to two good ballads, then you're doing pretty good. Then throw a tempo at 'em. Then have fun.

Even when I teach my MMA classes in the gym, it's hard to teach what I do. It's more of state of flow, a state of feel. It's not a robotic thing like one, two, three, kick, one, two, three, switch, jab, cross. It's completely unorthodox. Everything is about rhythm, tempo and pace. It's a different style, man.

Constant tension should be applied to the last five reps of every working set, meaning, do the first 5-6 reps normal tempo, and the last few reps should be held for at least two seconds at the peak of the contraction. This allows your muscles to have more time under tension, and you work different muscle fibers.

I must say, the standard of football we play in League Two is better than I thought. I think, if you compared it with the fourth division in other countries, such as Italy, Germany and Spain, League Two is much, much better - and that's very positive. The intensity and the tempo is as high as the Premier League.

Some bands blow it before they even play. The most important moment of any show is when a band walks out with the red amp lights glowing, the flashlight that shows each performer the way to his spot on the stage. It's crucial not to blow it. It sets the tempo of the show; it affects everyone's perception of the band.

I try to maintain an even tempo in all the games. Sometimes you play well and sometimes you get out. When you get out, you feel it is a wrong shot. Most players in tough situations play shots that could be out, but over time you refine that and give yourself the best chance of performing, the more you play in such situations.

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