Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.
I try to find nice chord changes, that's how I love to start, and then I start trying to knock it into a song, knock it into shape.
This Lullaby is only a few words, a simple run of chords, quiet here in this spare room, but you can hear it, hear it, wherever you may go, even if I let you down, this lullaby plays on.
I started playing bluegrass with my family, so there were the G, C and D chords. I was playing a Martin acoustic because that's what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.
Journalists, especially English journalists, were very cruel to me. They said I only knew three chords when I knew five!
Yeah, I can read music and I know the names of chords.
Chris (Anderson) is risking his life with every chord, that's how much it means to him. He has such a reverence for beauty, he plays like an angel.
Sin hath broke the world's sweet peace--unstrung Th' harmonious chords to which the angels sung.
It's just rock and roll. A lot of times we get criticized for it. A lot of music papers come out with: 'When are they going to stop playing these three chords?' If you believe you shouldn't play just three chords it's pretty silly on their part. To us, the simpler a song is, the better, 'cause it's more in line with what the person on the street is.
My father would say, 'Play a scale,' and I'd play one and he'd say, 'What about the rest? There must be one above,' so we'd figure them out. I'd start the scale on the root of the chord and I'd go as far as my hand would reach without going out of position, say, five frets, and then I'd go all the way back. So when ! practised I'd start right away on scales. As well as the usual ones, I'd play whole tone scales, diminished, dominant sevenths, and chromatic scales. Every chord form, all the way up, and this took an hour.
There are some places which, seen for the first time, yet seem to strike a chord of recollection. "I have been here before," we think to ourselves, "and this is one of my true homes." It is no mystery for those philosophers who hold that all which we shall see, with all which we have seen and are seeing, exists already in an eternal now; that all those places are home to us which in the pattern of our life are twisting, in past, present and future, tendrils of remembrance round our heart-strings.
At first I didn't understand what [Thelonious Monk] was doing, but I went back again, and what I can say about Monk is that I heard ancient Africa in his music. When he played, it was like a ballet. He captured the sound of the universe. Monk could take a triad, a simple chord, and make it sound dissonant. I'm sure that element he had in his piano was part of the two years he spent traveling with his mother in gospel music in the tent shows.
Over the years I have become convinced that we learn best - and change - from hearing stories that strike a chord within us ... Those in leadership positions who fail to grasp or use the power of stories risk failure for their companies and for themselves.
Books! The chosen depositories of the thoughts, the opinions, and the aspirations of mighty intellects; like wondrous mirrors that have caught and fixed bright images of souls that have passed away; like magic lyres, whose masters have bequeathed them to the world, and which yet, of themselves, ring with unforgotten music, while the hands that touched their chords have crumbled into dust. Books! they are the embodiments and manifestations of departed minds--the living organs through which those who are dead yet speak to us.
His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this - or more accurately, because of this - his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz - at least they have never appeared in so pure and direct a form.
Chord progression is progression of emotions; storytelling - taking one person from one mood to the next. We are doing the same thing within a DJ set.
I like really sparse electronics, lush arrangements, and interesting chord structures.
Even an ordinary broken chord is made to disclose rare beauties; we are reminded of the fairies' hazelnuts in which diamonds were concealed but you could break the shell only if your hands were blessed.
I like men who have known the best and the worst, whose life has been anything but a smooth trip. Storms have battered them, they have lain, sometimes for months on end, becalmed. There is a residue even if they fail. It has not been all tinkling; there have been grand chords.
This is our grace: To be a note In the exact chord that animates creation.
No man can force the harp of his own individuality into the people's heart; but every man may play upon the chords of the people's heart, who draws his inspiration from the people's instinct.
The band and I were leading at a Youth Specialties convention. We were asked to back up Matt Maher for one of the sessions. Matt handed us the chord charts and, with less than 5 minutes of practice, we were playing it live. I fell in love with this song immediately. You can't hear the message of God's sufficient grace too many times. Matt is a great lead worshiper and is a part of Life Teen, a growing worship movement in the Catholic Church.
Let no one pray that they know not sorrow, Let no soul ask to be free from pain, For the gall of to-day is the sweet of to-morrow, And the moment's loss is the lifetime's gain. Through want of a thing does its worth redouble, Through hunger's pangs does the feast content, And only the heart that has harboured trouble Can fully rejoice when joy is sent. Let no one shrink from the bitter tonics Of grief, and yearning, and need, and strife, For the rarest chords in the soul's harmonics Are found in the minor strains of life.
It’s really strange, but they speak to me — the notes and the chords. So when I hear other people’s music, I can feel the composer. Whoever created that, I can see in their soul.
I'd been getting bored with the stereotyped changes (harmonies) that were being used all the time. I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.
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