In this post, you will find great Notes Quotes from famous people, such as Sally Mann, Ritchie Blackmore, Chord Overstreet, Pete Townshend, Jon Brion. You can learn and implement many lessons from these quotes.
People’s association with improvisation means one person playing an endless stream of notes over something, and it doesn’t have to be.
Whenever the boss has ‘fun’ activities, there’s got to be a parable or a lesson. Employees feel like they’re supposed to be taking notes.
Speech is an arrangement of notes that will never be played again.
Now I can broadcast to an audience of several million people on the ‘Today’ programme. I can talk about the day’s news. But on radio, believe it or not, we have notes and scripts. And while we might ad lib the odd wryly amusing asides, they come at the frequency of a suburban bus. About one every 90 minutes.
Potentially significant, by the way, because we don’t know exactly what‘s in Matt Cooper‘s notes, and we don’t know – and we don’t still know the answer to the crucial question of whether it was Rove or somebody else that revealed Valerie Plame’s name to him.
With seven boys and one sister, there was always a lot of music in the house. A few of my brothers were playing instruments, so it was from hearing that, coupled with discovering early rock, which triggered me to pick up a guitar and try to pick out the notes.
It’s very important with these young people who are graduating and getting married to write thank-you notes.
Music is the silence between the notes.
When you hear a great two-track of a performance in Carnegie Hall, let’s say, it sounds like you’re right there at that moment. It’s true to reality. And the closer it gets, once it gets too technical, it becomes very tinny to hear notes. It doesn’t sound right. It has to be natural.
Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character.
I always write authors after I read their books. I’ve been doing it for years. I write a formal letter and send it to them in care of their agent. My mother always taught us to write thank you notes, and if an author puts themselves out there, they like to hear that their book connected with someone.
If President Obama were to enroll in an American government class, the professor would mark him absent on most days. In the first 100 days of his second term, the president has failed to show up to class, take notes and complete the daunting task of rising to the challenges facing him.
One of the greatest technicians of all time was a man named W. D. Gann (1878-1955). He had tremendous success predicting market moves much in advance. Legend has it that he occasionally sent notes to ‘The Wall Street Journal’, which accurately predicted tops and bottoms in grain markets months ahead of time.
After my husband died, I could not write much – I could not concentrate. I was too exhausted most of the time even to contemplate writing. But I did take notes – not for fiction, but for a journal, or diary, of this terrible time. I did not think that I would ever survive this interlude.
I do research, I read books. I write down everything that I intend to say and this may take several hours. Then when I am out there preaching, I do not carry notes.
No notes. You speak from deep in your heart. It’s easy.
I never use notes, they interfere with me.
Behind the notes, something different is told, and that’s what the interpreter must find out. He may sit down and play one passage one way and then perhaps exaggerate the next, but, in any event, he must do something with the music. The worst thing is not to do anything.
Every fundamental law has exceptions. But you still need the law or else all you have is observations that don’t make sense. And that’s not science. That’s just taking notes.
Playing with words is like combining different notes in music.
In rock n’ roll, there are notes that aren’t like notes. They’re something in between, and it’s the way you scoop into it.
Background scores allow me an absolute flight of the imagination, and I travel in my mind‘s eye. I do not like the scores to have vocal notes, because they act as a limitation to these flights of fancy.
I get notes posted on my windscreen wipers and through my letterbox.
Being in a class with kids, meeting new people, and borrowing notes from other students – I’ve never done that before. I’ve always had to fend for myself.
A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it. And then, there are notes and you change it, in the conventional studio system.
Every reporter inhales skepticism. You interview people, and they lie. You face public figures, diligently making notes or taping what is said, and they perform their interviews to fit a calculated script. The truth, alas, is always elusive.
I make notes about things I see in films that really affect me, like the ending of ‘Jules and Jim.’ I think about how I can utilize things in my work. And I have a team of people who keep me down to earth.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it’s really about the notes underneath the notes. When you do a test screening and somebody says, ‘Well, I didn’t like the love story,’ but it was probably just too long.
The evasion of justice within academia is all the more infuriating because the course of sexual harassment is so predictable. Since I started writing about women and science, my female colleagues have been moved to share their stories with me; my inbox is an inadvertent clearinghouse for unsolicited love notes.
I used to take formal notes in lines of blue, and underline the key words in red, and I realised I needed only the key words and the idea. Then to bring in connections, I drew arrows and put in images and codes. It was a picture outside my head of what was inside my head – ‘mind map’ is the language my brain spoke.
We are in this Alice in Wonderland world where parliament has approved a motion saying: ‘notes the government will not deploy U.K. troops in ground combat operations.’ It doesn’t say: ‘brackets not special forces.’ But the convention is that it is ‘brackets not special forces.’
Some of the first infographics I did started off as notes to myself: trying to plot out, for instance, how IP addresses are allocated. After a while, I thought, ‘This is a neat thing I can share with people, and they can follow me along in that process of understanding.’
My real name is Chord Overstreet. I actually got my name because my dad is in the music business as a songwriter. I was the third one in my family born, and there are three notes in a chord, so that’s how they came up with my name.
There are only 3 colors, 10 digits, and 7 notes; its what we do with them that’s important.
As a singer, you kind of are able to feel notes.
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.
The Indian economy has declined because of the peculiar Indian ‘invention‘ of that perfidious financial derivative called Participatory Notes, or PNs, otherwise known as the crony/crooked facilitator for black-money-based portfolio investment. No other country would think of such a derivative.
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.
I’m trying to get my head in the game, think about the questions I wanted to ask, breast milk is flying everywhere – over my notes – and I – how do you ‘lean in’ at that moment? What is the equivalent of that for Wolf Blitzer or Joe Scarborough?
My process is kind of intuitive – I think about how a character will speak according to their station and personality, occasionally making notes with guidelines for their mannerisms, and then I just sort of crack on and write it.
I like directing myself; I feel like it’s one less person to give notes to. There’s an efficiency in it. I’m also kind of a control freak. So I like the fact that it gives me more control in the overall picture.
I still use felt tip pens for my notes, on a white board that I carry around with me. I am not into the computer technology – you can say that quite safely.
You make mental notes. You’re a coach, so you make mental notes from matchups, to who steps up in the playoffs to who doesn’t, different types of players.
The right notes mean more than 1,000 mph arpeggios.
Sometimes a couple notes are worth a thousand words.
One of the important things, which I wrote on yellow post-it notes and stuck on the wall during therapy, was that we are the product of our own thoughts.
In middle school, I did the whole, like, ‘Do you like me? Check this box yes, check this box no,’ I did that to so many crushes; I always got in trouble for passing notes in school.
If you want me to play only the notes without any specific dynamics, I will never make one mistake.
So I have probably 1,200 little bits of paper with notes, which when the Ambien really starts to kick in, don’t really make much sense. Say what you like about prescription drugs, but they do help when you’re sequencing a record.
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.
I do write long, long character notes – family background, history, details of appearance – much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.
As long as I can sing and hit the notes, I want to do that.
My aunt Ruth Brown was a jazz musician. I got hooked on it at a young age, understanding what John Coltrane was doing playing two notes on the saxophone at the same time, which is impossible.
To me, the newspaper business was a way to learn about life and how things worked in the real world and how people spoke. You learn all the skills – you learn to listen, you learn to take notes – everything you use later as a novelist was valuable training in the newspaper world. But I always wanted to write novels.
I’ll put it this way: I couldn’t just go out the practice without looking at the playbook, without looking at notes. I wouldn’t be able to do much.
I chose my classes based on which professors did not take attendance, and then I traded Padres tickets for notes from class. I wasn’t the student of the month.
When you unbox a My Little Pony or a Strawberry Shortcake doll, you were hit with a sweet, impossibly perfect fragrance of fresh, machine-made plastic oftentimes infused with floral and fruity notes to bring the toy to life. That third dimension of sensory experience made the toy so real to me.
There’s an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don’t exist.
It’s not enough to hit the notes. There is no point in the singers just standing there and sounding wonderful if they’re not connecting with the characters they are portraying.
I first started reading about Barack and taking notes when he won the Iowa caucuses in January 2008 because I was embarrassed that, at that point, I knew virtually nothing about him.
When you’re making a film, there are so many people involved that you get opinions and notes from people and you don’t even know who they are. I find that quite difficult and it wears you down.
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.
There are only so many chords and notes in the world.
Christopher Hitchens and I were not friends or even acquaintances. We never met or spoke on the phone, just exchanged occasional brief letters – notes, really – hand-written and snail-mailed at first, e-mailed later.
The thing that’s tricky is sometimes the best voices – just because someone hits the big notes and sounds amazing – it doesn’t necessarily mean they make the greatest artists.
I don’t want to be on a soapbox, but I feel like a lot of documentary filmmakers are part of the ancient tradition of writing down notes, of saying, ‘Hey people, hey people!’
I had a very misguided notion of what ‘network notes’ were. I thought they were well-meant suggestions, perhaps urgently meant, but just suggestions nonetheless. And actually, they’re demands. You have to do them, or you will not be paid.
I like to have space between the notes. I like to use silence.
My first instrument was bass, and the first thing that I remember learning to play that was better than a few notes was Fleetwood Mac‘s ‘The Chain.’ If you’re the guy who penned that bass riff, then you should probably be in some sort of fantasy band.
People think I’m not polite. But, what I have to say to people seems so unnecessary. I can’t be forced. I’d rather just be what I feel. Even when I sing I try to imagine I’m all alone, there’s nobody out there listening. I play with the notes, with the feeling. Each time the song is different for me.
In comics, there are depths that don’t reveal themselves immediately, and the stuff that you might consider anal about ‘Watching the Watchmen‘ – like the notes where I plot the rotation of a perfume bottle through the air – might not be particularly obvious to anyone who reads it.
I like the two worlds coming together in the Internet space, which is so up for grabs… It all struck me when I heard about Twitter and Instagram, how it’s like notes you pass in class. If someone’s passing you a note, you really should be doing something else, and instead you’re like, oh, ‘What are you doing?’
ICICI Bank was the first bank to recalibrate its ATMs for 2000 and then also for 500 rupee notes, and now we have some ATMs which give out 2000, 500, 100 – all of them.
I won’t say if nerd is the right term, but I’m a big, big cricket fanatic. I just cannot stop thinking, talking cricket. I do carry notebooks and make notes to look at improving and developing my own game.
When you can’t follow a ballet’s action, you can always read the program notes.
I do my best to build a strong factual foundation for each of my novels and rely upon my author’s notes to keep my conscience clear.
The Internet is just a world passing around notes in a classroom.
I have 800 books of just Samuel Beckett’s work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.
I’m known for my handwritten notes.
Harmonics are vibrations a fraction of the length of the vibrating string, which add higher-pitched and more complex content to the notes. With a dull instrument, the harmonics die out, but with a sustaining instrument, the harmonics continue to sound along with the fundamental note.
When I start getting close to the end of a novel, something registers in the back of my mind for the next novel, so that I usually don’t write, or take notes. And I certainly don’t begin. I just allow things to percolate for a while.
When I have interns, I always say, ‘Handwritten thank-you notes can make a difference.’ People remember that – not an e-mail, a handwritten note in an envelope.
I have always liked coming home and sharing what has happened that day with my loved ones. I like comparing notes. I know other people do, too. I think there is a human instinct to tell stories, no matter who you are or where you live.
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.
I’m not one of those people that’s like, ‘I’m about to serve on this Whitney Houston song at like 2 A.M.’ No. Karaoke? I’m just like, ‘Live your best life.’ We’re not worried about those notes, we just living.
A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He’d be a good film professor.
When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed – from song lyric to tragic speech – must make its point, as it were, without reference back.
The guitar is a funny instrument because you have bendable strings and distortion – there’s a potential for noise. It is more exposing. Actually controlling the instrument, using proper vibrato, bending notes in tune, not fretting too hard, controlling the noise is a skill in itself that takes many years.
I was never a good student. But I wrote acting notes every day and prepared for my next shoots diligently.
I always want to pick songs that are really crazy rangy, and sometimes those low notes aren’t there. But I started taking it way more seriously after a certain point, and I started doing vocal warm-ups every day, even when I wasn’t singing, sometimes twice a day.
Remonetisation has happened at a fast pace, and that was part of the plan that, subsequent to the withdrawal of the specified bank notes, our production plans and supply processes would ensure that the remonetisation happened as quickly as possible.
I am stupidly passionate about music; it has become a bit of drug. I buy tons of CDs and spend days listening to each and every one, putting notes on every song to know which tracks are good so that when I do my little MP3 collection, I know which songs to include.
When I listen to my favorite songwriters, they have such simple melodies and chords. I occasionally manage to stop at the right time, but all too often I keep on going until I have way too many notes and words. But that’s just what I do.
I studied and sang lot of jazz when I was growing up. I think that plays a little bit into some of the things I do vocally, notes that I pick in chords.
I talk to amateurs, up-and-coming guys, fighters older than me, and we compare notes to teach each other how to leave this game on top from a legacy and financial standpoint.
Everybody assumes I know everything, so they send me these notes sometimes, and I don’t know what they’re talking about.
I keep my stand-up comedy notes in a pile on my desk. I don’t organize my act. I keep myself in a state of confusion. It stresses me out, but I prefer creative chaos.
Many use Rs 500 and Rs 1,000 notes for daily transactions like going to theatres, malls, and trading purpose. People like these are unnecessarily put to inconvenience.
The first notes I still play when I start a sound check are classical. Those are my roots.
I think a lot of people, in general, have whatever mechanisms they have in order to go through the day. For me, I do just literally have post-it notes and other little messages to strengthen me on hard days, or just on regular days, to remind me – to remind ourselves – of our dopeness.
When I begin writing, I have no idea what my novels are ultimately going to be about. I don’t have a plot. I never consider a theme. I don’t make notes or outlines.
I read a lot of ‘Spark Notes’ in high school.
The beauty of it is when you can just show up and hit the notes.
Photography is usually viewed as a solitary activity, but the truth of the matter is that people love to shoot together, compare notes, and just have fun with photography.
Faith is reason plus revelation, and the revelation part requires one to think with the spirit as well as with the mind. You have to hear the music, not just read the notes on the page.
Counterterrorism analysts have known for years that al Qaeda prepares for attacks with elaborate ‘targeting packages‘ of photographs and notes.
In the early 60s, you read your essays to your supervisor rather than hand them in. I was both lazy and clever, and realised I didn’t need to write essays at all, I could simply talk with some notes in front of me.
It’s important to me to be able to hit the notes and just be able to fly when I sing.
Music is a gestalt. Songs are a life force and they have specific vocabulary to them. You hear a few notes, and they take you into a world of association.
They will be given as gifts; books that are especially pretty or visual will be bought as hard copies; books that are collectible will continue to be collected; people with lots of bookshelves will keep stocking them; and anyone who likes to make notes in books will keep buying books with margins to fill.
Being on the plane is my catch-up time. I write thank-you notes. I read. I write stand-up jokes.
Right now, my voice is better than ever. It changed. I have better low notes than I had before.
That’s how I make work. Along the way, I take notes, I read about history and popular culture. Sometimes I act out things in the studio. I go back to my mother’s hair salon so I can hear three voices going all at once. I pull inspiration from everything.
I liken movies to playing a piano: Sometimes you’re playing the chords and different notes with unresolved cadences and playing all major chords that are all over the place, and you’re enjoying yourself with a great, simple melody.
There’s the classic charitable contribution, which we receive thousands, and we’re extremely grateful and they often come with notes from people, which are very heartwarming, about how much difference our products have made in their life on the Internet.
I could stop and say, Well that was a D minor, G seven, but I really don’t want to know that. I just want to know that there’s a combination of notes that makes a sound.
I avoid listening to too many people‘s comments about my script. I have learned to take in what is of use. It’s too frustrating looking at somebody’s notes who didn’t get what you were doing. If somebody says, ‘This stinks, and here are all the reasons,’ that’s not going to help you.
Eric Clapton was such a great player. He sounds like he’s Freddie King or someone like that. He plays the roots of blues and Delta blues. He really affected me with the way that he plays, because he never really plays that many notes.
Who am I, if I’m not this singer with big high notes? I identify with my voice. But I’m more than just the acrobatics.
I was singing about six notes higher than I had to, in a range that kept me up in a bubblegum sound.
When people hear I have six kids and 16 grandkids, they think, ‘Oh, boy, you must get a lot of stories from them.’ I don’t. It’s not like I’m behind the sofa in the living room taking notes while the grandkids carry on.
It’s not about the individual notes. It’s about the energy.
When I was eight, my piano teacher played seven or eight notes, and I sang them. She stopped and looked at me in shock! That was the first time I’d gotten that reaction. I’d had looks of horror, but never shock in a positive way.
Music is about depth. Music is about harmony. Music is about notes and tones.
When I’m in the car and somebody comes on the radio singing the high notes, I try to sing along.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
I love classical music, but I hated classical guitar. But I like flamenco, because there was something else there going on. It wasn’t just the notes being thrown at you. And there were certain kinds of jazz that I really liked and other kinds that just went right over my head.
My mom was always writing me notes to get me out of stuff.
I read a lot of research notes about the countries I visit, and my mum and dad bought me a Kindle, but I’m still getting to grips with it. I prefer paper books.
Exene taught me how to bend my notes when I sing. That’s her style. And I learned that from her.
I don’t go to games as much as I used to because of the NFL’s Sunday Ticket. So I’ll watch the games, take notes.
‘What Was She Thinking? Notes on a Scandal’ was thrilling in its light, deceptive tone, its subtle but irresistible momentum.
Sometimes I write less than I’d like but do research. Other times, editor’s notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.
I can almost see the music. It comes in the form of colors – colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they’re not always the right ones to use, the initial idea comes like that.
There are notes between notes, you know.
I’m suspicious of the idea of categories in music and this idea of things being in boxes. To me, that seems unnatural. I write the music that somebody with my biography would write, and the thing that’s always driven me is an enthusiasm for the material. I sort of follow the notes to where they want to go.
Growing up, even finding all those notes that you write in first grade to your future self of like what you want to be when you grow up – it was always music.
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.
Comedy is the ultimate truth. Jazz is hitting the notes that that no one else would hit, and comedy is saying words that no one else would say.
I would encourage anyone to keep a pad of post-it notes by their bed and write down small, achievable goals and celebrate those successes and that will give you confidence to create bigger ones and achieve them.
It didn’t make a lot of sense for us to be doing Lotus Notes implementations.
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.
Silk Road to Ruin has all the analysis and it’s structured very well. I rely on my notes more and I use direct quotes. But there’s nothing like writing about it right away.
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.
So much of performing is a mind game. You’re memorizing thousands of notes, and if you start thinking about it in the wrong way, everything can blow up in your face.
I wrote a lot of stuff quickly: pages and pages of notes that seemed pretty incoherent at first. Most of it was taken from the radio because -suddenly being a parent- I’d be confronted by the radio giving a news report every hour of the day.
I use my computer to take notes more and more because my handwriting is so bad. I’m a lefty and it’s getting worse and worse.
I am always making sketches of how information should look or mapping out a marketing campaign. When I present my notes, people start responding to them. Desktop publishing makes everything look slick. When you present sketches, it helps start the dialogue and collaboration.
As time has gone on I’ve felt less and less need to play too many notes. That’s something you do when you’re younger, you play far too much and too fast.
Notes are tricky in an audition, because I find, more often than not, my instinct is right.
I type my sermon notes into my BlackBerry, then I upload my sermon notes to my blog, my Facebook page and some of the information to my Twitter account. That’s 100,000 people I’m sharing the Gospel with by the virtue of typing it into my BlackBerry as opposed to writing it down. That is being efficient with my time.
They say an elephant never forgets. Well, you are not an elephant. Take notes, constantly. Save interesting thoughts, quotations, films, technologies… the medium doesn’t matter, so long as it inspires you.
I’m fascinated by the notion of a perpetual sound: a sound that won’t dissipate over time. Essentially, the opposite of a piano, because the notes never fade. I suppose, in literary terms, it would be like a metaphor for eternity.
The great leaders are like the best conductors – they reach beyond the notes to reach the magic in the players.
Sometimes I write notes that I have difficulty singing.
A scale is just the notes that are in a chord played one at a time instead of together. That’s what has allowed me to go through the possible notes that work with a chord and make choices about which ones I like best. I go through by ear; you can do it by theory too, but the best way is to learn by ear.
I was shocked when I heard that Farghadani had been sentenced to 12 years and nine months in prison on spurious charges, as Amnesty International notes, of ‘spreading propaganda against the system,’ ‘insulting members of the parliament through paintings‘ and ‘insulting the Supreme Leader’ with her cartoon.
He listens well who takes notes.
I have always kept notes and have kept letters from my friends and mother, which is rather depressing, as it takes you to the past.
I play citified Count Basie piano. As few notes as possible, my left hand in my pocket, that kind of stuff.
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.
It doesn’t matter where we are. We can be marching down the streets of New Orleans, or we can be onstage in front of 15,000 people. As long as I know that I’m about to put my horn to my mouth and play some notes, that’s what I most look forward to.
For me, travelling and drawing the world, experiencing as much as possible first hand, has been very important. Making notes, drawing and writing on the move, became second nature.
Sometimes songwriters and singers forget that. They get a melody in their head and the notes will take precedence, so that they wind up forcing a word onto a melody. It doesn’t ring true.
I’m playing all the right notes, but not necessarily in the right order.
I rewrote it and I took all your notes. Read it again, that kind of persistence paid off.
There are seven notes – Sa Re Ga Ma Pa Dha Ni no one is original in the world. We have to play around the notes and make our own stuff.
I think throughout the day; there are always lines or certain words, and I’ll just keep notes in my phone. It might just be one or two words, and then that could inspire a whole song, lyrically.
I just write notes all day on my phone, and when I write songs it becomes a patchwork of these smaller notes that I had, mixed with stuff in the moment.
I have short hands. That’s why I have to bend up to notes; I can’t always reach the frets.
My third day playing saxophone, I was in front of a congregation. I still didn’t know the names of all the notes. I was playing by ear, following along, but it was such an encouraging environment, I couldn’t fail. It was all, ‘Yeah baby, you sound real good’ no matter what you play. It was a great way to learn.
The key to performing a song isn’t always about hitting the right notes, but about telling a story.
I tend to jot down moments, lines, interactions that don’t really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.
No ideas are harmed in the making of my books, by the way. All I do with my best ideas is run with them, fast as I can, taking notes and occasionally suggesting a left hand turn rather than the right hand one which might have taken us both over a precipice.
I write everything down. I e-mail the second I think of something, or I write notes in my BlackBerry calendar. I set up reminder alerts on my phone. And I have a notebook by my bedside so I can write down any last-minute ideas.
We use convertible notes a lot at our fund – 8VC – so often that we just call them ‘notes’ to save time.
As much as I appreciate people putting me in the category of these very acrobatic belters, I feel like my strength is my… interpretation and my truthfulness with songs, and I don’t want young people to think it’s all about the high notes that they have to hit.
I write in longhand and assemble lots of notes, and then I try to collate them into a coherent chronology. It’s like groping along in the dark. I like writing and find it challenging, but I don’t find it easy.
It is the little things that throw me – the wrong pen, the wrong font. An interview done standing up is a disaster. I need my knees to rest notes on.
Albums like ‘Major Moves’ or ‘High Notes’ – those still sound good to me.
I don’t sing operatically, and I sing very intimately, but I still do the scales, and I think in terms of intonation and making sure that I’m hitting the notes right on the head… and having it appear quite effortless.
Searching for music is like searching for God. They’re very similar. There’s an effort to reclaim the unmentionable, the unsayable, the unseeable, the unspeakable, all those things, comes into being a composer and to writing music and to searching for notes and pieces of musical information that don’t exist.
Be serious. You’ve got to do the job you were hired to do well, but there’s always more you can do. When I was an assistant, I would say to myself, ‘You may not be an executive, but act like one.’ I would volunteer for any creative assignment – read scripts, do ‘coverage,’ write notes.
I still do not know where the notes will come from when I accept a commission for a new work.
‘Where The Wild Things Are,’ I think I could have written on my own. When I brought Dave Eggers on, I already had 60 pages of notes. I technically could have, but I don’t think I was ready to. I needed him to be there and help me.
The kids of today have taken over the music business – most of them very young. Simply because they write and jot down a few notes, they have the idea that they can write songs.
When goods are exchanged between countries, they must be paid for by commodities or gold. They cannot be paid for by the notes, certificates, and checks of the purchaser’s country, since these are of value only in the country of issue.
There are rhythmic ideas which sometimes only work up to a point. In writing there are moments when it just comes off the page, it’s not just a collection of notes.
How much energy is wasted in Italy in trying to write the novel that obeys all the rules. The energy might have been useful to provide us with more modest, more genuine things, that had less pretensions: short stories, memoirs, notes, testimonials, or at any rate, books that are open, without a preconceived plan.
In improvising, you’ve got your scale; you’ve got the notes that are going to sound good with other notes, the intervals that are going to sound good. But you’ve also got all the chromatic possibilities, the possibilities of sounding dissident, of being unexpected.
I myself never make any notes. Usually, if I write something down, I can’t read it afterwards.
If you’re always playing the correct notes, there’s something wrong – you’re not searching; you’re not reaching for anything.
When I’m sniffing around new territory, I often choose, rather randomly, one general book and then follow its bibliography and notes to other, more specialized works and to the primary source material.
She goes on the set with headphones and gives you notes. She’s terrific and I always run to her now, because she is just great to work with, as well as very good at different accents.
I don’t write material. Funny things happen to me in the course of a day, and I just make notes.
Recording a Hindi song takes me around 40 minutes whereas a Kannada song takes me about two hours. The music isn’t a problem, since the notes used are universal. The language is the problem. I try my best to get it right, as I’m sensitive about respecting every language, since all of them are sacred in my heart.
I always take notes on my phone of lyric ideas.
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.
I play more rhythmically than I do a lot of notes.
When I’m singing, I connect the dots with notes.
I don’t make any notes, but I do know where to find things. Suppose I need to know where Wexford first talked about his love of the countryside or where he quotes Larkin or what was the beginning of his hatred of racism or where he first encountered domestic violence; I would be able to find it straight away.
Once you’re labeled as mentally ill, and that’s in your medical notes, then anything you say can be discounted as an artefact of your mental illness.
Sometimes the director will want you to write about the character, sometimes he’ll want you to live in the location that the character is from or something like that, but I don’t usually make a lot of notes or anything like that.
The way I build stuff in my mind, it’s sort of like a puzzle for me. I always talk about it like, when I’m writing a scene there’s a certain feeling I’m trying to create. I’ll have my list of scenes and it’s more like feelings, these notes I want to hit.
