Quotes About Interpretation

I've read and heard that some of the most inspiring vocal interpreters adhere habitually to one rule: Always think the lyrics as you're singing them, so that the sentiment is always appropriate and heartfelt.

I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.

But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.

It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities.

Poetry is a vocal art for me - but not necessarily a performative one. It might be reading to oneself or recalling some lines by memory.

When I write a song and come up with an arrangement and a vocal part, it's always a challenge trying to find a singer who can interpret it sort of the way that I hear it, and it's a very difficult thing to do. I mean, singing is like playing an instrument - everybody does it a little bit different - singing maybe even more so.

My fear with 'Lear' was that I would not have the physical or vocal strength. But this play, it's all in your head. That was one of the really interesting things when we were rehearsing it: We were all exhausted because it was all up here.

Ultimately, I'd say a lot of my vocal influences are jazz-based, people like Ella Fitzgerald, or Fred Astaire.

The composers know what they want from you. So as a vocalist you have got to trust them and surrender yourself to their vision.

The thing about covers is that the first thing you're going to notice is the vocals, because it's not the same person.

With Mr. Bungle, I'd lay down a really rough demo of my vocals and then play them for the guys without telling them what I was saying. Our drummer at the time had the coolest takes on what he thought I was saying, so I'd ask him to write out what he thought the lyrics were.

Re-telling the Christian story is the essence of my vocation. That has been going on since the Evangelists in one form or another.

I think we're living, in terms of media, in a very democratic age, but I think that we still look at everything through the lens of 'Vogue' and through our own point of view.

The 'Voice Kids U.K.' songs were chosen for me, and I had to try and make them mine.

My work as an actor is limited by the voice of the director and the writing.

Well as I say, don't believe everything that you read and don't be afraid to think and it is alright to understand what has gone before but don't just rely on copying but develop your internal voice and your own internal means of interpreting.

Everyone thinks I'm singing falsetto, but that's my normal singing voice.

Listeners instinctively detect that when we lower the usual pitch of our voice, we are sad, and when we raise it, we are angry or fearful.

It's very hard to come across as a passionate human being in print. People can't hear the inflections in your voice.

For listeners, the song 'Kehne ko jashn-e-baharaa hai' looks a very easy number. In fact, it was a challenge to sing the song as I had to really suppress my voice and make it appear like a casual track.

For me, the importance in learning about the dance is using it as a voice. It's not about a step, it's about a way to express oneself.

I always hear I have the voice-over voice.

I assume the body language no matter what in doing voiceover. There is a transformative aspect.

I love reading novels, and I love going to movies, but I kind of hate going to an adaptation of a novel, and it starts off with a voiceover.