Quote of the Day
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.
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.
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.
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.
People walk differently in high heels. Your body sways to a different kind of tempo.
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.
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.
Well, you can't throw heavy, analytical, thought-provoking songs at people 24/7. It's been my experience over the last 20 years that on a rare occasion, in a live setting, if you can slow people down to listen to two good ballads, then you're doing pretty good. Then throw a tempo at 'em. Then have fun.
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.
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.
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.
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.
'I Just Might Pray' by The David Mayfield Parade has an upbeat tempo without being sugary sweet. 'I Just Might Pray' is an enjoyable track and is easily listened to. As a side note, the video for 'I Just Might Pray' is absolutely adorable.
I like clever songs. I like songs that make people think and I try to have substance in all my records, even with 'Sweet Dreams' how it was a club record and it was up tempo, but it was melodic and it was, like, lyrical.
Sure we have skilled players, but the biggest thing might just be that we are so well conditioned and how we can play for 90 minutes at a high tempo which is needed in soccer at an international level.
'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.
It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities.
American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
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.
I stopped making videos and commercials for a few months before I started films just to reset my clock because so much narrative filmmaking is a sense of tempo and rhythm.
There are so many similarities between a startup venture and a political campaign - the rhythm, the tempo, the hours, the intensity.
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.
I snapped my fingers all through it. Sometimes I set my own tempo during rehearsal by doing that.
Tennessee Ernie Ford
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.
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.'
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.
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