Quotes About Musicality

Reggae, oh man. It's the ultimate music. The positivity. The musicality. The whole cultural expressionism of it. The danceability. Just the cool factor. The melody factor. Some of it comes from a religious place. If there were a competition of who makes the best religious music, it would definitely be the Rastafarian reggae.

I start from one point and go as far as possible. But, unfortunately, I never lose my way. I 'localize,' which is to say that I think always in a given space. I rarely think of the whole of a solo, and only very briefly. I always return to the small part of the solo that I was in the process of playing.

Prince, Bootsy Collins, Earth Wind & Fire and Parliament all had albums that sound different. I wanted to show, as a hip-hop producer, I'm one of those that can do anything, because I was raised on so much music aside from rap and hip-hop.

Even on the drum level, it's all about stating your theme, going back to certain things that need to be emphasized, not doing fills for the sake of doing fills.

It's a real gift to be able to have the works of brilliant, great people to learn from and build from. It gives you so much more to draw on, and then you don't have to be all about three-chord pop songs. I don't really like that kind of writing.

Poetry has the ability to create entire moments with just a few choice words. The spacing and line breaks create rhythm, a helpful musicality, a natural flow. The separate stanzas aid in perpetuating a kind of incremental reading, one small chunk at a time.

I think you've gotta be smart enough to be competent, but you've gotta be crazy enough to go out there and just let it all happen. I mean, you can rehearse and still not be musical, be tight and not be musical; we all hated that.

One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.

Working with Dudley Moore was so hilarious. I don't know how we got anything done because everybody was laughing so hard, but he was such a wonderful man, and he had a kindness and a musicality and a dearness to him that was triumphant.

Musically I was fed up with the virtuoso thing. Our gigs had become nothing more than an excuse for us to show off as individuals, and any sense of unity we might have had when we started seemed to have gone out the window.

I think I've improved in the finesse and the tone and compositional skills. But I think I basically still kind of play the way I did back then, too. You sort of get to a point and that's how you play.

I was a kid that grew up listening to The Beatles and The Stones and Jimmy Page and Eric Clapton and Jeff Beck, and I wanted all of that in there. But at the same time, a large part of my playing is Tony Iommi and Billy Gibbons. I'm just a sum total of all of the guitar players that I think were really cool.

I try not to repeat myself in fills in all the Rush songs unless it is something simple or something I feel is my own characteristic thing.

I do have a regard for the musicality of language that came from BBC sitcoms like 'Fawlty Towers.'

I would always say I can sing, but I'm musical. I'm very good at following instructions, reading the music, and singing as it's written down, but there was a challenge when I had to improvise.

A lot of the songs are written on piano or guitar, so I contribute, and I have done so since the beginning. So it's been good to be involved completely musically as well.

I am a big nut for kind of weird musicality things. I love key-changes and random tempo things and polyrhythms - music geek.

Prince got some Marvin Gaye and Jimi Hendrix and Sly in him, also, even Little Richard. He's a mixture of all those guys and Duke Ellington.

I can play every instrument there is, every horn, I've played all the saxes and trumpets and everything and keyboards.

If your students are not your children, then you've no business touching harpstrings. There is a reason that our order is called Cruitreache, that the name takes the same plural suffix as mother. Think about it.

I spend a lot of time copying saxophone players and trumpet players. Not to say that it is not important to listen to guitar players, but there's so much music out there and so many possibilities. I like anyone who plays any instrument.

I first heard Miles Davis as a student, when I was struck by his extraordinary musicianship, and his work did affect some of the sounds of Simply Red. He was one of the reasons I chose to have a muted trumpet on 'Holding Back the Years.'

I can play anything - piano, drums, guitar, harp - I can even play a trumpet through another trumpet.

Peterson revealed that he had decided the only way to get attention was "to frighten the hell out of everybody pianistically.