This is called synchronicity - a state in which you almost feel as if you are in a collaborative arrangement with fate.
My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.
The reason I wanted to become an organ player was because I heard Ray Charles play on Quincy Jones' arrangement of "One Mint Julep." I heard that sound, and it just struck me. I thought that's what I want to do with my life. That's the sound I want to try to make.
My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.
There are some people who do great stuff singing and playing fiddle at the same time and doing that kind of arrangement. But I think [I don't do that] partially because I'm still a loner on the guitar and banjo.
What I did with my first records was, my writing process was that I didn't touch any instruments to write it, so I was making it all on the computer, and really the arrangements were coming first, the intricate thing.
All the new songs have been written since the re-issue of Diamond Day. With my first royalties I got a Mac and a little mixer and a keyboard, figured out the basics of a music program, and gradually started to write and record the songs and the arrangements.
The smaller you strip things down, the more you depend on the songs and yourself, as opposed to arrangements.
I think that the most significant, guiding principle was that we wanted to return to a three-piece live form, whereas we became a four-piece for the last record because the songs had more extensive arrangements and we needed a keyboard player to pull off a lot of those songs. We missed the energy, and more push-and-pull of the three-piece.
I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.
I'm in a state of my life when the essential is very important to me. I don't like long songs with complicated arrangements and breaks anymore.
I can change the arrangements on stage while I am playing or singing, doing signs to the musicians to change things because the audience is dancing or singing with us. That's the interesting part of the live show, actually, because everything is possible and everything can change.
Vocal arrangements are something I'm working a lot with for the new songs.
Architectural drawing is a language with conventions where the rules can be deliberately misused; a well-composed architectural drawing can both contain correct and incorrect arrangements of meaningful things.
On a musical level, I do find it rewarding. It's not like I want to blow my brains out while I'm playing these songs from so long ago. I am still surprised by the way the songs are constructed - note choices, the way the arrangements are made, the way these songs are assembled. I'm still amazed at times.
What I'm going for with the string arrangements for my Antarctic symphony is a pun here.
Social intercourse, even friendship among most people, is a merely a business arrangement that lasts only so long as there is need.
Starting from the ruins of the Second World War, we - all Europeans said, after centuries of fighting each other, we're going to build permanent arrangements in which peace between European countries is secured, freedom is secured, and growing prosperity. And that's what we have done over the last 70 years.
There is absolutely nothing democratic about the "global arrangement" through which the West has been ruling over the rest of the world for decades and centuries.
When Chinese people want liberal reforms, they are delivered. When they want more Communism and an epic fight against corruption, like now, China's government immediately reacts. It is powerful and democratic, although a very specific and complex arrangement.
The natural geopolitical arrangement is for Europe to be part of Eurasia, especially for Germany to develop trade and investment relationships with Russia.
I came upon Diana Krall's jazz arrangement of "A Case of You" several years back. I've always wanted to pay homage to both her version and Joni's, and by proxy, my mom. She's the one that introduced me to that music.
Whatever new arrangements are enacted for the Eurozone, they must work fairly for those inside it and out.
That's always attractive to me, to work with music whose form is a big question mark. Even many of my favorite bands growing up, when I was just a kid learning to play drums and guitar and everything, were bands like Pink Floyd, where the arrangement, the number of bars in each section is unconventional and often lopsided, and there will be small little instrumental interludes and that sort of thing. So those odd forms, as well as dark content, are the things that I think are continuous through all the type of projects that I've been attracted to.
I think it's always been an arrangement that had political objectives and goals, which is fine. Get married for whatever reason you want, as far as I'm concerned.
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