Chord Quotes
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I always take care to have interesting chord progressions, because you can have the best sound design in the club, and you'll kill it in the club, but in five years, kids will have better sound design. But if your music is good, you'll always be able to listen to it, even in 20 or 50 years.
I am into drones and one chord freak outs and the paintings I am into are more minimal things the New York colour field painters and the soviet schools of the early/mid 20th century suprematism and constructionism.
I was working like a dog as a housekeeper, barista, nanny, cook, so I could save enough money to really sit with my instruments. Whenever I had 20 minutes, I would practice a new chord or write a new verse.
The way jazz works is that we take a theme, and then we write using the same structure, same chord changes, and then we can do different tunes.
My favorite punk rock song is 'Linoleum' by NOFX. That's pure harmony, the coolest chord changes.
After all, what is cinema? It is an interaction, a discussion that throws up questions and provides some solutions. The solutions might look simple, impractical or too fictionalised. But one must realise that viewers empathise with certain characters because they strike a chord with the viewers' needs and frame of mind.
I think The Hulk really hit a chord with me, I love the Hulk. But, I never dreamt I'd be playing Doctor Doom.
I fell in love with R&B music at a young age. The energy and aesthetic of that genre strike an emotional chord with me.
Feeling has as much to say as the words do. You can have the greatest words in the world and if they're not believable, they don't strike a chord and they're not said convincingly, it's not a great song.
Yes, basically, like you said, I'll work out a chord pattern and work out the lyrics over that.
There are certain choices you make as a songwriter, based on vowel sounds and melody and chord changes.
The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.
I just scribbled away and eventually a C-major chord was there. I didn't ever decide I was going to be a composer. It was like being tall. It's what I was. It's what I did.
For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works, or it doesn't.
I used to try and make up visually for what I couldn't play as a musician. I used to get into very incredible visual things where, in order just to make one chord more lethal, I'd make it a really lethal looking thing, whereas really it's just going to be picked normally.
After 35 years of bone-crushing rock guitar playing, I'm finally starting to get my head out of the harmonic sand and learning how to play over chord changes.
A scale is just the notes that are in a chord played one at a time instead of together. That's what has allowed me to go through the possible notes that work with a chord and make choices about which ones I like best. I go through by ear; you can do it by theory too, but the best way is to learn by ear.
When it comes to vibrato, a lot of people look at their hands when they do it. Which is pretty much of no use. Because vibrato is one of those things you have to hear. There are some guitar things where the visual is really useful, like seeing chord shapes or scale patterns. But vibrato isn't one of those things.
Trust me, the only real way to understand 'Chic' is in highfalutin terms. Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.
Fair treatment of human beings and animals in many different realms strikes a chord with me.
I had to learn chord shapes. I bought books with chord charts. I used to listen to all kinds of pop music.
As an actor, you want as much variety as you can muster up. Otherwise you just keep playing the same chord over and over again.
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 tend to like songs that are very emotional, that strike a chord with me emotionally.
I definitely don't see myself as much of a singer, because my upbringing is really based around the guitar, learning chord progressions and that sort of thing. So the singing aspect of what I do has been a secondary adventure.
I'm kind of a geek when it comes to talking about chord structures or melody, so I always loved in-depth conversations with musicians about things. I also enjoy when a fan can just put something on, and they really know nothing about music other than they like it and it touches them in some way.
I'm not joking around when I've said occasionally, trying to learn how to play a D chord properly has been a very big thing for me.
I like to separate the music- and lyric-writing processes if I can. I'll sort of noodle around on my keyboard and my computer until I have a beat or a chord progression, I'll record it as a loop, export it to iTunes, then walk around with the loop and sort of talk to myself in the loop, and that's how I get the lyrics.
I don't have musical theory or great chord knowledge, but what I have got me where I am.
You know how sometimes you hear a chord played on an organ and you can feel it vibrating in your bones? Sometimes when I'm writing, I can feel my bones vibrating because I'll have a thought or I'll have a character's voice in my head, and that's when I know I'm on the right track.
We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.
'Entourage' is almost required watching in L.A., and everyone seems to have story suggestions for the show itself, which is amazing because it makes you realize the show's really struck a chord and found its audience.
I wonder if anyone else has an ear so tuned and sharpened as I have, to detect the music, not of the spheres, but of earth, subtleties of major and minor chord that the wind strikes upon the tree branches. Have you ever heard the earth breathe?
I discovered the same thing Gram Parsons did, that soul music and country music are practically identical. Based off of the same chord structures, and the songs are of heartache and loss. The main connection is they both came up in church.
I like really sparse electronics, lush arrangements, and interesting chord structures.
I love classical music; I love the way it's worked... all those chord sequences so I often use that sort of effect in my solos.
It's just a real thrill when you're showing somebody a chord progression or something, and you see that light come on, you know. You see 'em 'get it.'
So I learnt a few country western songs, I bought a chord book, and right away I started writing my own stuff, which nobody else did that, I don't know why.
I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.
If I pick up a guitar, I don't practise scales. I never have. I come up with something I haven't done before, new approaches to chord sequences, riffs, rhythms, so it becomes composition. It's not like the music I'm doing is just a single thread.
Neil Young does throw in a major seven chord here and there, so if you're a new guitar player learning Neil Young songs, you'll learn some seven chords, and some different positions. Nothing too complicated, just enough to kind of open up your knowledge a little bit.
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.
I've played the guitar since I was 12, and just taught myself songs chord by chord.
My freshman year at Harrison High School, I saw a journalism class where students were putting out a weekly newspaper. It touched a responsive chord in me.
When I picked up my guitar, I spent the first day learning the chord E, the second day A, then B7, and all of a sudden, I could play the blues.
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
A Schubert song, the A-major chord at the opening of Wagner's 'Lohengrin' - such incredible beauty is a mystery, the divinity of music.
You can't always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe filled with whipped cream.
I loved the idea of Bowie as an artist, with his Burroughsian cut-up technique, creating these undecipherable, abstract songs, where we all projected our own meanings onto his jarring word choices and unexpected chord changes.
The first thing that inspires any song is a chord progression. When I have one I really like, I get into the lyrics even more.
I can't sing, but I'll sing over this chord progression, like, over and over, for however long it takes - sometimes it's, like, two minutes, sometimes it's 20 minutes - until I've found like a hook or something that I'm really happy with. And then, basically, it just like that's my melody, and that's where I start from.
I'm still disturbed if a chord isn't together, but your priorities change as you get older.
Every action of your life touches on some chord that will vibrate in eternity.
I'd have these weird experiences where I'd just be walking down the street with this chord progression in my head, this happened more than a few times, and I'd walk home and find a fax in my machine and it would match the music in my head.
I got bored with the old way - it came too easy. I worked until I could play and chord changes at any tempo in any key, and then said 'What else is there?' Now I'm finding out.
The most common power chord in metal is the root/fifth, but root/third diads are also worth checking out.
I've been kind of listening to the composer Britten and his rendition of 'A Midsummer Night's Dream.' The opening track is a choral section where all the weird fairies, who are played by kids in the production, sing. It's a crazy opening melody and chord sequence - really amazing.
It's like a piece of music; you never lose sight of the theme. Each scene pushes off to the next like music builds and you can almost hear the next chord progression, so it has a strict structure, which is very compelling.
The more melodies and chord changes, the less good it is for the clubs, but the better it is for radio, because it makes it really emotional.
It's tough to play the right chord on the instrument when there's someone out there who wants to kill you.
Because you've been exposed to Western tonal music, you know after a certain chord sequence what the next possibilities are. Your brain has compiled a statistical map of which ones are most likely and least likely. If the song keeps hitting the most likely notes, you'll get bored, and if it's always the least likely ones, you'll get irritated.
How many ways can you cut a steak? How many ways can a chord go? I've been in this business so long, I know how to cut it.
I came up with a 'forecasting cell,' which is basically a mixed intention cell or chord that is a complete hybrid of a consonance and a dissonance, and what that does when you are improvising is lead you to where you are supposed to go.
My real name is Chord Overstreet. I actually got my name because my dad is in the music business as a songwriter. I was the third one in my family born, and there are three notes in a chord, so that's how they came up with my name.
All of our songs take these really big creative turns and twists throughout the process, so sometimes songs will start out as a melody or some musical chord progressions.
I don't need to hear Bill to go through a song. I need to hear Keith to go through a song. I know Bill will be playing what I'm playing anyway. I need to hear Keith because it's all there: the time, the chord changes, and all the licks you have to follow.
I never heard anything so brilliant in my life as I did that first time I heard Ornette. He played like some revolutionary angel. Soon, we were rehearsing in his place, music scattered everywhere, and he was telling me to play outside the chord changes, which was exactly what I had been wanting to do. Now I had permission.
I could hear it sometimes, but I couldn't play it. I'd been getting bored with the stereotyped changes that were being used. I found that by using the higher intervals of a chord as a melody line and backing them with related changes, I could play the thing I'd been hearing.
When my dad played me 'Walking Man,' I heard those chord changes and that melody, it completely blew me away. Maybe you wouldn't really hear the James Taylor influences in my music, but they're definitely buried in there.
When you have 13 horns, and one is soloing, you have 12 people to play the richest, fullest chord you could ever imagine behind that solo.
I made physical objects because I know how to do something on the computer. That struck a chord with me: Most women of my generation have grown up with technology but lack the handmade creative skills of former generations. This is a big opportunity to fill that gap.
I was 16 when I started playing. I borrowed a friend's acoustic guitar, and I had a Beatles chord book. I just taught myself that way.
The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.
Light rails are too bus-like to impress most commuters, too squished and close to the ground. Monorails, by contrast, strike a chord with travelers. There's something about the sleek designs, the pillowy rides, and the panoramic views that just enchants.
The Beatles changed music forever. They took rock n' roll from a medium that was about cars and girls and gave it context, interesting chord changes and true musicianship.
I'm definitely responsible for coming in with some basic chord changes, or ideas. Everybody in the band looks to me to come up with the basic seed, so it's not very productive to come in with nothing.
I learned to embrace my individuality, and if that meant writing a song on one chord over and over again, then that's what I do.
I think there's something that feels so good about a 1-4-5 chord progression. It's a very standard chord progression, and it just feels good to the ears.
I don't really have a favorite genre. I could listen to a rock song, a metal song, jazz, pop music, whatever. For me, whatever style it is, it always depends on the chord progression, the lyrics, and the melody used.
Actually, because I'm so small, when I strike an open A chord I get physically thrown to the left, and when I play an open G chord I go right. That's how hard I play, and that's how a lot of my stage act has come about. I just go where the guitar takes me.
If you know what you do well and stick to that, I think you can appeal to the different generations. You can strike a chord with them. I've got the brain of a teenager anyway.
Whichever chord progressions move me, whether it's rock, jazz, doo-wop or soul, I'm going to put it together and not be worried about whether people can put it in a lane or not.
You just have to have a song that you're desperate to play along to, and for me it was 'Turn' by the Scottish band Travis. I went to see them headline the Scottish T in the Park Festival, so after that festival, I went home and taught myself all of the Travis back catalog with an old guitar and a little chord book.
What can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli.
I just couldn't take school seriously: I had this guitar neck with four frets which I kept hidden under the desk. It had strings on it so I would practice my chord shapes under the desk and that's about all I did at school.
If there's something I really like or a chord progression, I write a note in my Blackberry, and maybe a year later, I'll revisit it and ask, 'What did I like about that?' I really don't try to think too much about it. I like to be fresh.
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