If I stopped writing and being at my piano, I wouldn't know how to live. It's your best friend.
The piano is the social instrument par excellence... drawing-room furniture, a sign of bourgeois prosperity, the most massive of the devices by which the young are tortured in the name of education and the grown-up in the name of entertainment.
On television I feel like a man playing piano in a brothel; every now and again he solaces himself by playing 'Abide with Me' in the hope of edifying both the clients and the inmates
The piano's world encompasses glass-nerved virtuos and stomping barrel-housers in fedoras; it is a world of pasture and storm, of perfumed smoke, of liquid mathematics.
When there's a piano to be moved, don't reach for the stool.
God gave me a gift of singing and playing the piano, and when I do it, it's exciting, of course. But it's more than that. It's truly the way God created me to release my soul and my spirit, to really worship him. ... I'm made to create music.
My mother always wanted to be in show business, but her parents discouraged her. So when I started performing for the mirror she enrolled me in dancing, singing and piano lessons.
Well, we have theatrical parties. It's not me singing. People like to get up and jam on the piano.
When I don't like a piece of music, I make a point of listening to it more closely
Were it not for music, we might in these days say, the Beautiful is dead.
Musical compositions, it should be remembered, do not inhabit certain countries, certain museums, like paintings and statues. The Mozart Quintet is not shut up in Salzburg: I have it in my pocket.
If the King loves music, it is well with the land.
All deep things are song. It seems somehow the very central essence of us, song; as if all the rest were but wrappages and hulls!
"Playing" the resources of characterology for the sake of clarification and insight into the structures of actual existence is many times more daunting than playing a piano; it requires the thinking of chords of thoughts, not just isolated simplisms or abstracta; it demands the shaping or encompassing of morphological modes of intelligence that can comprehend gestalten, syndromes, historical and civilizational patterns in which it is not the particulars but their interactive significance (as an ensemble of actualities or principles) that is vital.
I've had to be a man since I was 12 or 13. I had a job. And I was playing the piano for people twice my age. Handling responsibility is what makes a man a man.
I wanted to marry Lucifer... I don't consider Lucifer an evil force...I feel his presence with his music. I feel like he comes and sits on my piano.
Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way--through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all.
I always sang when I was little and my father, who was a great influence on me, also had a wonderful voice. He and my mother really encouraged me to sing and play the piano. They were always very supportive.
In my piano concerto I developed this polyphony to much higher complexity
You can play Bach on the piano, a symphony orchestra or a quartet of saxophones, but let's stop this silly, childish business of knit your own musicology
Bach opens a vista to the universe. After experiencing him, people feel there is meaning to life after all.
My first big break came with Lauryn Hill on a track called Everything is Everything, I played piano on that track way back in 1998.
I also became inspired by impressionist painters such as Renoir, and wanted to do the same sort of thing with music-portray whatever mood strikes me the way Keith Jarrett does on piano.
Bob Erlendson, a local piano player, taught me chord structure and which scales go along with them. Later, I began listening to [pianists] Bill Evans and McCoy Tyner. Then I got interested in [saxophonist] John Coltrane.
I always just sit down at the piano and make the main hook—what I want the track to be about melodically—and then I’ll build everything else around that. But growing up, I did not play any instruments.
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