My heart has always been in more up-tempo music you can dance to.
I've done a lot of training in martial arts. I started out in warring tempo, I did sports jujitsu, and I've also practiced extreme martial arts.
Some bands blow it before they even play. The most important moment of any show is when a band walks out with the red amp lights glowing, the flashlight that shows each performer the way to his spot on the stage. It's crucial not to blow it. It sets the tempo of the show; it affects everyone's perception of the band.
Tempo ... now there's a big word.
You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.
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.
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.
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.
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.
Movies always are open to being remade because times change so much, and the tempo of movies changes. I think of it like a James Bond. They can have different actors play the same role... I've had people come up to me and say, 'We want to remake 'The Jerk' with so and so.' And I say, 'Fine.' It just doesn't bother me. It's an honor actually.
We created this journey [in the Begin], sonically, that people can really wrap their heads around and live with and get to know us a little bit more. The dark colors, the light colors, our up-tempos, and our down-dreamy stuff.
It was Vivaldi's Mandolin Concerto, Francesca Abraham realized as the radio alarm went off. Lively, unrelentingly upbeat, it was the perfect tempo in which to start the day. Covering her head with a pillow, she reached out blindly and urgently, desperate to shut the damn thing off.
There was no let-up. The tempo was always moderate but steady. If a new guy decided to pick up the pace, that's where it stayed, whether he finished with the group or not. You showed off at your peril.
And since time sets its own tempo, like a heartbeat or an ebb tide, timepieces don't really keep time. They just keep up with it, if they're able.
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
At Gatling-gun tempo word-perfect the first time out. the journalistic equivalent of a high-wire front somersault without a net.
Know that the immediate staff and others in the Administration will assume that your manner, tone and tempo reflect the President's.
People know me for up-tempo songs because of my hits.
You noodle around with tempo and sound until you get the perfect fit for that particular song, and then, so long as you can sustain it, God is on your side and everything comes easily and even the waiters smile.
Through the years I've accumulated this big bag of songs. When I go out I do close to two hours, and it's all just attitude - and up-tempo. I've accumulated so many of those types of songs now that the show just gets off with a bang, and I'll only do two or three ballads the whole show.
Jazz goes into folk music, into rock music. Jazz is in practically everything except classical music where they're reading the same music all the time, the same way, the same tempo every night.
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