Words matter. These are the best Tempo Quotes from famous people such as Jadon Sancho, B.o.B, Vic Mensa, Dania Ramirez, David Fizdale, and they’re great for sharing with your friends.
Obviously, I don’t want to be a sub, so I will just keep working hard in training. It’s not that easy for me as a sub to come on with tempo.
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.
From a musical standpoint, I was inspired by ’90s hip hop, with a lot of drums and the tempos. I’m always inspired by David Bowie and Prince.
I think very few shows have come into our industry and changed the tempo and the narrative of stories, and ‘Once Upon a Time’ did that.
Pace is just how fast we can get the ball from one end to the other. It’s not necessarily how fast we can shoot. It’s just a tempo thing.
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.
People walk differently in high heels. Your body sways to a different kind of tempo.
Welterweights have what heavyweights have but they also have what flyweights have. We have speed and power. We have what it takes to keep a certain tempo but also deliver the hard shots that the heavyweights have.
I want to focus more on my pitches, not on the tempo. After that, I felt more comfortable.
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.
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.
There’s people that believe tempo is the star. There’s people who believe the system is the star. There’s people that believe the players are the stars. I come from that mindset.
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 feel like, anytime I’m onstage, I tend to feel very connected with people in the audience or with the sort of heartbeat or tempo of the audience.
I’ve done a lot of training in martial arts. I started out in warring tempo, I did sports jujitsu, and I’ve also practiced extreme martial arts.
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.
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.
If you create a movie that is only character driven, with a weak plot, then you – as a director, you have to make sure you keep pushing the tempo.
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.
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.
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.
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.
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 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 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.
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.
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 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.
Rap, for me, I go at any tempo and any sound of beat and incorporate melody as well.
Jimmy Baldwin was the creator of contemporary American speech even before Americans could dig that. He created it so we could speak to each other at unimaginable intensities of feeling, so we could make sense to each other at yet higher and higher tempos.
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
‘Things that Never Cross a Man’s Mind’ is probably one of my favorite upbeat tempo songs because it is just a sassy song, and it’s a fun song.
It’s the rival that gives you the tempo depending on who is on the ball or who a pass is played to. That is the little secret.
Up-tempo or slow tempo, I don’t feel that one is better than the other.
There are so many similarities between a startup venture and a political campaign – the rhythm, the tempo, the hours, the intensity.
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.
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.
No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn’t move to other events with different tempos in particular.
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.
I’ve got a good first step and things of that nature. So it’s just about using your body to make the defense play at your tempo and react to you.
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.
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.
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.
I’ve played a lot of football in my life. I know the tempo and speed of the game.
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.
People like to hear songs that they can dance to. Even if they’re sitting, they like being made to want to dance and move. By me being a dancer, I know how I’d dance at certain tempos. I was always good at it.
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
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.
Whenever you play dance music, it serves a function. It becomes a utility; you have to worry about the tempos and what you’re going to play for people. But when you’re playing for listening, you’re free.