Quotes About Chords

I spent many years trying to write a lot like Ben Folds or John Lennon or Rivers Cuomo. I think that's healthy when you're learning to write and seeing how chords fit together and how songs take shape.

I thrive on change. That's probably why my chord changes are weird, because chords depict emotions. They'll be going along on one key and I'll drop off a cliff, and suddenly they will go into a whole other key signature. That will drive some people crazy, but that's how my life is.

With 'Under the Pressure,' I just found two chords I liked, and built it up, did like a ten-minute drum pattern.

I consider descending chromatic lines and arpeggiated chords basic skills learned by any student of the guitar.

If you take the duality of things - like sunny-sounding music with weird lyrics on it - it makes this dichotomy. I've never had that because when I make music, I make major chords, happy-sounding stuff, and my lyrics are positive.

I started playing bluegrass with my family, so there were the G, C and D chords. I was playing a Martin acoustic because that's what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.

I remember talking about a Mozart song during a music class at school, and I said, 'I wouldn't have done it like that.' I didn't like the way the chords moved. And my teacher told me to get out.

In high school, I decided I wanted to learn guitar, so I picked it up and starting teaching myself some basic chords and started playing with friends. Guitar inherently lends itself to be guitar music, especially when you're not good at guitar.

This is no science, this is art, where equations fall away to elements like resolving chords, and where always prevails a symmetry either explicit or multiplex, but always of a crystalline serenity.

fact, the whole point of the trick' is that knowledge of just these three chords enables the novice musician to play thousands of songs in dozens of genres. Whether

I Want To Hold Your Hand' 'I Saw Her Standing There' Voice leading in the Plagal cadence Here is a summary of the action in a IV–I change (in the key of C), highlighting the important 'inner' voice leading.

Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition and being able to hear chord progressions and licks) comes into play a lot more.

I will say that I know Nirvana did a show and played a few chords from 'More Than a Feeling' before they did 'Teen Spirit,' and it wasn't very good. But in all seriousness, 'Teen Spirit' was a great song. If subconsciously or somehow I had any influence on that, I'll take that as a compliment.

It is impossible to watch a 'Friends' episode too many times. Phoebe is my favourite character. I used to play her songs on the guitar when I was a teenager. 'Smelly Cat' is very easy. It's only about three chords.

I started playing guitar back in '56. I was a teenager, and guitars had just come in, and I had a thing for it and got one. Started learning lead breaks from songs, because that was the easiest thing to do at the time. I had the guitar for two years before I learned any chords. Really.

When I started writing songs for Temple of the Dog, I went to my room with my acoustic guitar, and I was happy staying in that mode. It was more chordal based and more lyric driven. I enjoyed not making riff-based songs built around a guitar idea.

Remember that the Lord has given you many signs through the years of His faithfulness. He has recorded hundreds of promises in His Book. The tokens of His love and grace are beyond number. He has never failed us yet. We can trust Him with loose ends, unsolved problems, and unresolved chords. He expects us to depend on Him with life's outstanding issues.

Music is the language of the angels. You can hear just one or two chords, one or two notes of a song, and bam - you're right back there, you're right back in that moment, you're back in that day, you're back at that prom, you're back in the car.

The voluptuous chords of the wedding march done in blasphemous syncopation issued in a delirious blend from the trombones and saxophones--and

I love to zoom in and study why a chord is making me feel a certain way, but then I've learnt to zoom out again. Because if I'm not actually feeling it, there's not much point making it in the first place.

On acoustic guitar I tend to stay in the key of D for some reason. On electric guitar I keep basic: C, G, D, and A. The key of D minor is also real good for me.

My course is about really working on a sheet of music. You work out the chords, which note complements the other, and how they will make the feeling of tension, the feeling of resolution. It's all about harmonization. That's more of the theory of notation and everything rather than practical. I don't play any instrument.

I really like melodies that have a certain tension against the chords. I like writing things that are sort of insistent.

Why should certain chords in music make me think of the brown and golden tints of autumn foliage?