Top 60 Rhythms Quotes

My approach to writing rhymes went hand in hand with the music. I’d try to make different rhythms with my rhymes on the track by tripping up patterns, using multi-syllable words, different syncopations. I’d try to be like a different instrument.

When people in stadiums do the Wave, it’s the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.

If I pick up a guitar, I don’t practise scales. I never have. I come up with something I haven’t done before, new approaches to chord sequences, riffs, rhythms, so it becomes composition. It’s not like the music I’m doing is just a single thread.

I deal with more complex rhythmical patterns than a regular tap dancer. I even think in rhythms.

Because music is a language unto itself, when I’m writing, I need silence. I need to hear the music and the rhythms of the words inside my thoughts.

In some ways, it’s easier to be the lead. Week after week, scene after scene, the rhythms of filming force you to peel away a certain amount of artifice. When you’re on set that much, there’s a license to let the character emerge from the work itself.

I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I’ve always believed stories are closer to poems than novels, I spend a lot of time on the story’s larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.

As a journalist, I interviewed people, and you begin to feel different rhythms in speech, and you can use those things to help carve out a character.

I wanted to get to that aesthetic proposition that comes out of learning the human elements of a world, so that those notes and rhythms mean something to you besides just the academic way in which they fall in place.

Science offers us the possibility of understanding natural rhythms and events that must have seemed like the work of angry and unpredictable gods to our ancestors.

I’m aware now over the last 5 or 10 years that when you do an accent, you really have to kind of get down to the nitty gritty and go into the phonetics of it, if necessary. Find out not just the sounds but the rhythms and the music – or lack thereof – in a particular accent.

I had been educated in the rhythms of the mountain, rhythms in which change was never fundamental, only cyclical. The same sun appeared each morning, swept over the valley, and dropped behind the peak. The snows that fell in winter always melted in the spring.

I’ve always been drawn to solitude, felt a kind of luxurious relief in its self-generated pace and rhythms.

Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.

After decades spent in rewrite rooms surrounded by other shouting writers, I discovered that I work best alone. I like being in charge of my time, working out the problems according to my own rhythms and being able to nap.

I’ve always been into music. I used to DJ. I used to mix reggae and that. I used to be into reggae hard. Well first it was rap, then reggae, then rap again, then rap and reggae. But I was always DJing out my window for the whole estate. Everyone used to sit outside and all and listen. And I used to be running rhythms in that.

I don’t understand why people don’t use improvisation, especially in comedy films, but also, for me, you get more naturalism, and that’s why I like the naturalistic performances and strange rhythms and the way that people genuinely interact captured rather than sort of very mannered performances.

I don’t like to define my music. To me, music is pure emotion. It’s language that can communicate certain emotions and the rhythms cuts across genders, cultures and nationalities. All you need to do is close your eyes and feel those emotions.

If there was no black man there would be no Rock’n’Roll. The beat, the rhythms of Africa are what created Rock’n’Roll and Jazz.

Swing is extreme coordination. It’s a maintaining balance, equilibrium. It’s about executing very difficult rhythms with a panache and a feeling in the context of very strict time. So, everything about the swing is about some guideline and some grid and the elegant way that you negotiate your way through that grid.

I hate to give myself credit for anything, but I will say I really enjoy, as an actor, and especially with comedy stuff, playing with different rhythms and with different ways around a joke. There’s always an obvious route, and there’s one that maybe is a little bit different.

I spent my last year of high school in Latin America, and there’s a edge of salsa under all of my rhythms.

In poetry, you must love the words, the ideas and the images and rhythms with all your capacity to love anything at all.

I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.

My grandmother taught me the seasonality of food. She lived with the rhythms of nature. That’s the way we should live. Why do we need raspberries in January flown from Chile?

I grew up next to the ocean, on the coast, and would dance the salsa all day, so I just learned those rhythms and knew how to move my body when I was very little.

The tunes, rhythms, and messages are drawn mainly from secular culture.

What makes me write is the rhythm of the world around me – the rhythms of the language, of course, but also of the land, the wind, the sky, other lives. Before the words comes the rhythm – that seems to me to be of the essence.

Hip hop scholarship must strive to reflect the form it interrogates, offering the same features as the best hip hop: seductive rhythms, throbbing beats, intelligent lyrics, soulful samples, and a sense of joy that is never exhausted in one sitting.

After decades spent in rewrite rooms surrounded by other shouting writers, I discovered that I work best alone. I like being in charge of my time, working out the problems according to my own rhythms and being able to nap. That’s a big one, the napping on demand!

Gospel music rhythms are not African in origin, although I know that’s what the jazz experts say.

In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.

We try to make air-tight, intricate songs with melodies and counter-melodies and rhythms that work together, and we try to make it as palatable as possible – something that’s not difficult to listen to.

I roll my eyes at the grandstanding blowhards who have ‘fixed’ themselves, but I keep up with the gizmos and apps that track people’s various rhythms. I’m no lifelogger or body-hacker, but I’m curious, and I want to be in-tune enough to know what’s really the matter so I can level up and be at my most awesome.

Because I don’t play guitar any more, African harmonies and rhythms have been an inspiration to me. I love the raw origin of the sound. It complements my voice and words naturally.

It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.

For the very young, there’s nothing better than Mother Goose and anything by Dr. Seuss for the rhythms and language.

Jazz was the beginning of rhythm music, which developed into rock and roll. But what the jazz musicians lost because they were so far from their homeland was the intricate rhythms of African music.

Every time I sit down in front of my piano, I like to improvise with the instrument. It depends on my mood of that day what kind of melodies and rhythms I am playing around. Sometimes, even before starting to play I already have a quite clear picture of a song I would like to compose, or at least the sound of it.

At school, I was never given a sense that poetry was something flowery or light. It’s a complex and controlled way of using language. Rhythms and the music of it are very important. But the difficulty is that poetry makes some kind of claim of honesty.

When I’m creating a song, I’m thinking of a hip-hop beat playing on a live drum set – kinda like the Roots would do. I will put New Orleans music on top of that with some other rhythms.

The first lesson I’ve learned is that no matter what you do in your life, you have to figure out your own internal rhythms – I mean, what works for you doesn’t necessarily work for your friend.

My solo playing utilizes the deployment of suggestive psychic rhythms. I’ll state these throughout a given piece and play thematic improvisations on top of that. I like to suggest that rhythmic movement without always playing it. I like to create openings that I can step into.

I just hear a beat and start mumbling words. I just hear sounds and rhythms, and it just kind of comes intuitively. Formatting a song, figuring out a flow, how I respond to the beat.

When I’m writing stuff, I need to watch the scene in my head, like a little movie, or else it just feels stupid. It just feels very written. There are things that actors do and faces they make and pauses they take and their rhythms. You need that.