Quotes About Guitar

I love staying at home and not seeing a guitar for ten days... but then I love that feeling of picking it up again.

I didn't start writing music until I was a sophomore in college. I would steal my roommate's guitar and sit on the front porch and kind of blend this weird spoken word and these little melodies over simple chords; that really started my whole journey as a musician.

I was playing with steel picks on a steel guitar, and there was no amplification needed.

I wanted to call it 'Experiment' because it's all kinds of different sounds. We have a bunch of instruments on there that are basically going extinct, like the fiddle, the steel guitar, the slide.

I do a very poor man's pedal steel on the Stratocaster.

My stepfather met my mother when I was seven years old, and he was a guitar player. So he caught me messing with his guitar, his electric guitar, and he tried to show me some chords, but my hands were too small.

When it comes time to dance, they're like a regiment; they do the same steps - except for the Mike Teavee dance, where the Oompas play in a rock band. I learned to play the guitar for that one.

For the record, if I were Superman, a pale, scrawny guy holding a guitar would be Kryptonite.

My music would make no sense without flamenco.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

I started playing guitar when I was nine and just fell in love with that - I've been playing nonstop ever since.

As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.

My first guitar was like a campfire guitar. And it was left at a house that my family had moved into... and the guitar was at the house. It was all strung up. It's normally something that would be beyond a bit of rubbish.

Normally, I can get through a whole show with one guitar pick.

One very important side of my playing lies in rhythm; I have a very percussive style. It's one I've developed with Dream Theater over the years, and requires the guitar to be very locked into the rhythm of the drums... way more than what would normally entail.

'My Friends Over You' has two guitars, but if you listen to us live, it's the same... I know how to hit a rhythm note and play lead at the same time.

I did play every little note on the guitar on that record.

That's the thing about the blues: It's one thing to hit a note on a guitar. To make it matter is something else altogether.

And, as soon as I could put together the, you know, three or four notes that made up, like, sort of a rock and roll lick, you know, like a Chuck Berry kind of thing, I was off and running. Just completely taken over.

I am an old-school guitar player. I'm not an '80s-'90s sort of shredder who plays a million notes a minute. I am way more '60s-'70s kind of style, and I write very '60s-'70s.

It's impossible to play a run with as much feeling as a single note. I've never been so much into runs as making single notes cry.

I don't have any legato skills; I could never figure out how to roll the notes off.

I noticed a lot of guitar players neglected the rhythm part of rhythm guitar and decided I would try to focus in that.

In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.