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People walk differently in high heels. Your body sways to a different kind of tempo.
In an individual sport, yes, you have to win titles. Baseball's different. But basketball, hockey? One person can control the tempo of a game, can completely alter the momentum of a series. There's a lot of great individual talent.
The human brain is a funny thing: it's very susceptible to tempo and melody. You put the right words to it, and it becomes very influential.
I think music talks to you on an emotional level, regardless of where you're from. I guess I related to the tempo of rap, the aggressiveness.
I snapped my fingers all through it. Sometimes I set my own tempo during rehearsal by doing that.
Tennessee Ernie Ford
Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.
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.
The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.
We complain of the increased tempo of our lives, but our frenetic lives are just reflection of the economic system that we have created.
But there's actually a lot of punk bands out there that go out of the norm, use odd time signatures, or a lot of different tempo changes in a song.
My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.
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.
'Things that Never Cross a Man's Mind' is probably one of my favorite upbeat tempo songs because it is just a sassy song, and it's a fun song.
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.
A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.
Mentally, my key is just focusing on the little things I need to do in a race, whether that's tempo, turn entry, start speed, things like that. I'm not thinking about that much before or during a race. I just trust in my ability and all the hard work I put in and let the race come to me.
Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.
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.
When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.
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.
There are so many similarities between a startup venture and a political campaign - the rhythm, the tempo, the hours, the intensity.
I had no idea how difficult Sondheim's music would be. All through the rehearsals, I kept flubbing. There were so many tempo changes. I could never get through the opening number without any mistakes. One day, I went up to Hal Prince and offered to leave the show. He laughed it off. He said, 'Don't be silly. That's why we have tryouts.'
It is hard to play Blue Suede Shoes. I know everyone has heard it 10 million times, and that makes it even harder to play it, but there's a very laid back tempo on that. I was surprised at how slow it really was.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Martin Luther King, Jr.
Leonardo da Vinci
A. P. J. Abdul Kalam
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Follow your bliss and the universe will open doors where there were only walls.
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