Top 415 Notes Quotes

I always have loved the Stradivarius. My teacher, Josef Gingold, he had a Stradivarius. As a treat, he would put it under my chin and let me play a few notes, and I remember that feeling of the overtones, the complexity of the sound. It’s like a great wine.

I didn’t think of myself as a singer. I’m an actor who recites words, and sometimes that happens to be on musical notes.

On a personal level, I send out about 20 thank-you notes a day to staffers, on all levels. And every six weeks I have lunch with a group of a dozen or so employees, to get their perspective on the business, to address problems and to get feedback.

Human atoms are the notes, their life the symphony.

Unlike a high-wire walker, I don’t think any musician strikes the wires of a piano or draws a bow across a violin’s strings primarily for the kick of an adrenalin fix. There is danger on stage, but dropped notes are not broken bones; a memory lapse is not a tumble to the ground.

To see my wife getting inspired from my notes and thoughts, going in the direction I wanted, and have her surprise me with wonderful choices was a real treat.

A lot of young drummers have a tendency to really overplay. Sometimes simple is better, and the notes that aren’t played between the spaces are bigger than the notes that are.

I’m fascinated by the notion of a perpetual sound: a sound that won’t dissipate over time. Essentially, the opposite of a piano, because the notes never fade. I suppose, in literary terms, it would be like a metaphor for eternity.

Notes are tricky in an audition, because I find, more often than not, my instinct is right.

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.

Songs, for me, are notes from the heart.

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.

Generally, my notes and outlines comprise more words than my novels. I suppose that’s one reason I’m a comparatively slow writer, something that has always bothered me given the fact that other authors can turn out a book every six months while I usually take about two years.

That’s what it is that you rehearse – the making of music, not the playing of notes as abstractions.

In improvising, you’ve got your scale; you’ve got the notes that are going to sound good with other notes, the intervals that are going to sound good. But you’ve also got all the chromatic possibilities, the possibilities of sounding dissident, of being unexpected.

Comedians are always hitting the topical notes that are on everybody’s minds.

There are seven notes – Sa Re Ga Ma Pa Dha Ni no one is original in the world. We have to play around the notes and make our own stuff.

Potentially significant, by the way, because we don’t know exactly what’s in Matt Cooper’s notes, and we don’t know – and we don’t still know the answer to the crucial question of whether it was Rove or somebody else that revealed Valerie Plame’s name to him.

My third day playing saxophone, I was in front of a congregation. I still didn’t know the names of all the notes. I was playing by ear, following along, but it was such an encouraging environment, I couldn’t fail. It was all, ‘Yeah baby, you sound real good’ no matter what you play. It was a great way to learn.

To read a book, to think it over, and to write out notes is a useful exercise; a book which will not repay some hard thought is not worth publishing.

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.

Mozart wrote so many works in his thirty-five years that it would take a lifetime just to write out the notes. We literally do not know how he did it.

For a while, I was working on transcribing rap lyrics and then converting them into rhythmic patterns on the piano. And so in my mind, when I was taking a solo, I would be saying the lyrics and trying to play actual notes to their rhythms. Now, the influence just comes in and out in my playing.

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.

When I started rhyming, my favorite rhythms were from John Coltrane and some of the things he did on sax. And certain rhythms that I hear on drums, I try to emulate with my words, dropping on the same patterns that them beats or them notes would hit.

I love classical music, but I hated classical guitar. But I like flamenco, because there was something else there going on. It wasn’t just the notes being thrown at you. And there were certain kinds of jazz that I really liked and other kinds that just went right over my head.

They will be given as gifts; books that are especially pretty or visual will be bought as hard copies; books that are collectible will continue to be collected; people with lots of bookshelves will keep stocking them; and anyone who likes to make notes in books will keep buying books with margins to fill.

I’m a planner, an organizer. I write things down because you can visually check them off and see progress. Writing things down is a lost art. I’ve got sticky notes all over my apartment.

When I write music, these colors pop out of me. It’s hard to describe, but basically when I write music, I paint, and I add colors, and I add notes.

I write thank-you notes the minute I throw the wrapping paper away.

I keep my stand-up comedy notes in a pile on my desk. I don’t organize my act. I keep myself in a state of confusion. It stresses me out, but I prefer creative chaos.

I chose my classes based on which professors did not take attendance, and then I traded Padres tickets for notes from class. I wasn’t the student of the month.

I grew up seeing my sister in the studio. I would go to recording sessions and take notes.

I wasn’t the best student, and for some reason, I always got music. While other people were having trouble figuring out notes on a page, I could listen to it once and play it back.

I can play songs that I hear from a movie and just play it a few times on the keyboard. I will hit all the notes on the keyboard until I find the right key, and then I will play the rest of the song.

Although I’ve made notes for things and even written synopses sitting in trains or on park benches, for the complete composition of things I need absolute solitude, preferably an empty house.

I’m a visual person, so it always starts with a picture, and then I get obsessed with the idea, sometimes too much. I have these blank books in which I take notes, and I add postcards and other physical items.

Session work makes you more strict. You can’t hit notes all over the place. You’ve got to make each one really count.

I can’t even read notes. But I can teach someone how to make a guitar smoke.

Silk Road to Ruin has all the analysis and it’s structured very well. I rely on my notes more and I use direct quotes. But there’s nothing like writing about it right away.

A guitar is so tactile, and when you’re playing bends – and bending notes is a big part of my style – there are so many notes within the note you’re bending from and the note you’re bending up to.

Every reporter inhales skepticism. You interview people, and they lie. You face public figures, diligently making notes or taping what is said, and they perform their interviews to fit a calculated script. The truth, alas, is always elusive.

We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.

‘What Was She Thinking? Notes on a Scandal’ was thrilling in its light, deceptive tone, its subtle but irresistible momentum.

I’ll put it this way: I couldn’t just go out the practice without looking at the playbook, without looking at notes. I wouldn’t be able to do much.

As you get older, some top notes drop off and bottom notes appear, which I quite like. You listen to Leonard Cohen or Johnny Cash, and you see the advantage of the lower end.

The thing that’s tricky is sometimes the best voices – just because someone hits the big notes and sounds amazing – it doesn’t necessarily mean they make the greatest artists.

My process is kind of intuitive – I think about how a character will speak according to their station and personality, occasionally making notes with guidelines for their mannerisms, and then I just sort of crack on and write it.

I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it’s really about the notes underneath the notes. When you do a test screening and somebody says, ‘Well, I didn’t like the love story,’ but it was probably just too long.