Notes Quotes

On those long notes behind the trumpet solo, if anyone lets his mind wander for a minute he is dead.

TV is the place for writers to live. This is where you have creative control and you're constantly writing. 'Twilight' had almost a TV schedule to it. I was constantly working on these projects. There was not a whole lot of lull but I've gone onto other feature projects that's like, 'Okay, I'll get back to you on notes.'

Am I afraid of high notes? Of course I am afraid. What sane man is not?

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.

Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.

One should indeed read Pope with his notes available, in the Twickenham edition possibly, to see what a vast amount he did understand about Homer.

I never take any notes or draw charts or make elaborate diagrams, but I hold an image of the shape of a book in my head and work from that mental hologram.

Over the years with movies, I've given directors notes.

I hope to refine music, study it, try to find some area that I can unlock. I don't quite know how to explain it but it's there. These can't be the only notes in the world, there's got to be other notes some place, in some dimension, between the cracks on the piano keys.

If you want to make beautiful music, you must play the black and the white notes together.

The notes are right, but if I listened they would be wrong.

I adore art... when I am alone with my notes, my heart pounds and the tears stream from my eyes, and my emotion and my joys are too much to bear.

When I first got married to my husband, he had boxes full of photos of my two stepsons, ages 5 and 8 at the time, and I put them together in some little albums and wrote notes about how happy I was that they were a part of my life.

I love jotting down ideas for my blog, so I doodle or take notes on all kinds of stuff that inspires me: the people I meet, boutiques I visit, a florist that just gave me a great idea for an interior-design project, things like that.

Composing is like driving down a foggy road toward a house. Slowly you see more details of the house-the color of the slates and bricks, the shape of the windows. The notes are the bricks and the mortar of the house.

Sometimes that's a year, sometimes it's 18 months, where all I'm doing is taking notes. I'm reconstructing the story from the back to the front so that I know where the front is.

I know that the twelve notes in each octave and the variety of rhythm offer me opportunities that all of human genius will never exhaust.

I was always playing the Hammond Organ back to front even during the days of the Nice, going back to 1968. Really what I was doing there, was choosing notes at random and trying to make some sense of them, improvising back to front.

Had we lived I should have had a tale to tell of the hardihood, endurance and courage of my companions which would have stirred the heart of every Englishman. These rough notes and our dead bodies must tell the tale.

Basically I started to jot notes, lots of faxes back and forth to my writer, we faxed ideas throughout the whole first draft, and started all over again.

Scholarship was one thing, drudgery another. I very soon concluded that nothing would induce me to read, let alone make notes on, hundreds and hundreds of very, very, very boring books.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

When I was in Van Halen I was hitting notes that were out of my range. I never went for those registers before until Eddie pulled it out of me.

I have a box of things from Becca, my high school girlfriend, and Vanessa; and each one of them was love. I have the notes, the valentines, 20 mixed tapes, all of it. It's important to keep that stuff.

I've always been a character actor, although I'm not quite sure what that means. All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else.

I don't think I could have ever had a career as a pianist because I never ever wanted to play the notes the way they were written, I was too sloppy to learn them quite right.

To read a book, to think it over, and to write out notes is a useful exercise; a book which will not repay some hard thought is not worth publishing.

We all do 'do, re, mi,' but you have got to find the other notes yourself.

I just want to make stories. They don't have to have a moral or a reason. There might be some mild cautionary notes, but they're not moral. They don't impart any Judeo-Christian ethic of any kind.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.