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.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
Some musicians play with their heart, you know what I mean? I don't know what to tell a person that can't - if you can't tell a person what you're talkin' about when they're rushin' or droppin' the tempo, you get somebody else.
Drummers - sometimes they play and they listen. And that little listen takes a speck away from the right tempo.
I've gotten hernias from drummers when they drop tempo.
I like "God Give Me the Strength" very much. It's not really a blues and to call it a ballad is absurd. I don't know, its mid-tempo. Mark (St. John) actually wrote it and I think its very telling of our lives in the 60s. Its just a good song, ya know.
If you make a suggestion and [musicians] don't know what you mean, you have to be able to do it yourself. I often sit down on drums and show 'em just exactly what I want. And I do it and then say, "How do you do that?" It's because I know how it looks, I know what I want to hear, and I don't drop or rush any tempo. It ain't in my body, it ain't in my nephew's body.
It is always there, of course, when you come back from the green world. You have been living by sunrise and sunset, by wind and rain, surrounded by the ebb and flow of lives that respond only to such simple, rhythmic elements. But now the tone and tempo of the days switch. Instead of harmony, jangle.
The reason [drummers] call things "unison", and they sound unison, is because you actually play two different tempos . . . like you're a little sharp, or a little flat; it's so slight that they call it "unison", but it's not unison.
I had a growing feeling that most of the best art of the world in painting and sculpture had been done, and that this newest form [photography] was more related to the progress and tempo of modern science of the eye.
Fandango was around before the Internet. Fandango is a Spanish-American dance. It's a lively tempo dance. It's almost like the tango. That's what it says in the Merriam-Webster [dictionary]. The second entry is [defined as] 'tomfoolery.' That's what it says in the dictionary, that's what I go by. I remember Queen saying it too on 'Bohemian Rhapsody.' When I was little I never understood what they meant by 'do the fandango.
Sometimes melody and sometimes lyrics. It depends on the tempo and feel of the song. Slower pieces usually begin with melody and faster ones with lyrics. I write for the song and it leads me to my conclusion.
He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn't matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language.
You ever hear Buddy Miles play the drums? You know, he doesn't vary the tempo at all.
It's funny because you do often read in recounts of very famous albums, people tend to focus on mistakes in really positive ways, and there's certain mistakes of my own that I always do find on every record that I needed to accept. I find it really interesting to talk about. I always write songs at the wrong tempos, and I have to learn to accept that a little bit.
I couldn't do "What's Love Got To Do With It", Tina Turner because it wasn't the right tempo; so I scratched it from the record. I wanted to do it about a year ago, but something happened.
In England everything is liberalised. Within certain boundaries and rules everybody can do what he likes. Maybe London's society has a different tempo, a different dynamic. London is fast, productive, creative but it is not England. If you want to transfer that to football, you could say: in the four big English clubs and maybe in the one or two behind them there is a top level. Everything that comes after that rather mirrors English society. It's honest, fair and hard, sometimes also fast, but not always so perfect.
I think we're really good about pushing each other in practice and we have high tempo and I feel like we have some of the best players in the world so just competing against one another and getting in there and pushing each other around and getting ready for that physical style of game coming up, we have to play hard and pretend it's a game.
I urge pupils when studying a work and in order to master its most important aspic, the rhythmic structure, or the ordering of the time process, to do just what a conductor does with the score: to place music on the desk and to conduct the work from beginning to end as if it were played by someone else, an imaginary pianist with the conductor trying to impress him with his will, his tempo first of all, plus all the details of his performance.
To know how to structure the joke perfectly so that the narrative information is given in the right tempo, in just the right dose - it sometimes takes quite a lot of work. It seems easy when you hear the joke.
There's no similarity between football and ballet, so this ain't ballet music being played on the field. I'm pumping something that's going to put me in a frame of mind to go to war, and something that's very high tempo and high beat.
For me, musicians are poets. Beethoven describes himself as a poet of tones, just like Coltrane's a poet of tempo.
Things that Never Cross a Mans Mind is probably one of my favorite upbeat tempo songs because it is just a sassy song, and its a fun song.
Instead of thinking that's a nice tune, you start thinking is it the right pace, is it the right tempo? That is the death nell for artists.
Our time has produced a need for contrast. This has been achieved not only in the external appearance of plastic expressions of coulor and matter, but also, and chiefly, in the tempo of life and in the techniques related to the daily, mechanical functions of life; namely standing, walking, driving, to lying and sitting - in short, every action which determines the content of architecture.
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