Arpeggios Quotes

She did not suddenly start being disagreeable this afternoon, she was so good at it, she had evidently practised whatever are the scales and arpeggios of rudeness every day of her life.

The Moonlight sonata is a strange piece of music. It's been called a Lamentation. You can feel that when you play it, can feel the sorrow and the endless repetitions. It's simple to play but maddeningly difficult to play well. The arpeggios allow great freedom of expression. Too much freedom in untutored, unskilled hands. They say Beethovan wrote it for a seventeen-year-old countess, the Countess Giulietta Guicciardi. He may have loved her.

In one corner the piano tuner scattered arpeggios live handfuls of beads.

Come into my world. I will show you the phenomenon that Stendhal experienced. I will help you feel the cascading arpeggios of Wagner's overture. I will dance to Doga’s waltzes with you. A day spent without appreciating the beauty surrounding us is a waste. Let me appreciate you

At night when I look at Boris' goatee lying on the pillow I get hysterical. O Tania, where now is that warm cunt of yours, those fat, heavy garters, those soft, bulging thighs? There is a bone in my prick six inches long. I will ream out every wrinkle in your cunt, Tania, big with seed. I will send you home to your Sylvester with an ache in your belly and your womb turned inside out. Your Sylvester! Yes, he knows how to build a fire, but I know how to inflame a cunt. I shoot hot bolts into you, Tania, I make your ovaries incandescent. Your Sylvester is a little jealous now? He feels something, does he? He feels the remnants of my big prick. I have set the shores a little wider. I have ironed out the wrinkles. After me you can take on stallions, bulls, rams, drakes, St. Bernards. You can stuff toads, bats, lizards up your rectum. You can shit arpeggios if you like, or string a zither across your navel. I am fucking you, Tania, so that you'll stay fucked. And if you are afraid of being fucked publicly I will fuck you privately. I will tear off a few hairs from your cunt and paste them on Boris' chin. I will bite into your clitoris and spit out two franc pieces...

Sunlight came through the windows slowly, like something liquid pouring between the red curtains on to the rug. The sunlight was like an arpeggio that Tom could almost hear -- this time Chopin, perhaps.

Like the master score of a bewitchingly complex symphonic work, the genome contains the instructions for the development and maintenance of organisms. But the genomic "score" is inert without proteins. Proteins actualize this information. They conduct the genome, thereby playing out its music-activating the viola at the fourteenth minute, a crash of cymbals during the arpeggio, a roll of drums at the crescendo.

She began to study with a teacher of teachers, whom they brought for that purpose from the city of Mompox, and who died unexpectedly two weeks later, and she continued for several years with the best musician at the seminary, whose gravedigger’s breath distorted her arpeggios.

When the poem throttles your innards, that’s when you got to hit the paper and arpeggio the keys—it’s up to you."-Juan Felipe Herrera @cilantroman

A surprising surge of affection for all of them came over Rebecca. What incredible, resilient creatures dancers were. What tortured, driven, stubborn, exhausted marvels.   Arpeggio

Colors sluiced the air with fugal patterns as a shape subsumed the breeze and fell, to form further on, a brighter emerald, a duller amethyst. Odors flushed the wind with vinegar, snow, ocean, ginger, poppies, rum. Autumn, ocean, ginger, ocean, autumn; ocean, ocean, the surge of ocean again, while light foamed in the dimming blue that underlit the Mouse’s face. Electric arpeggios of a neo-raga rilled.

Barbara rearranged herself on the blanket, and the crowd howled a mass downward arpeggio when Enfield took the ball back. It’s all right, it’s okay, you’re gonna work for us someday, rose the cheer from the Sheffield side.

My return was sweet, my home refound, but my thoughts were filled only with grief at having lost her, and my eyes gazed at the Moon, for ever beyond my reach, as I sought her. And I saw her. She was there where I had left her, lying on a beach directly over our heads, and she said nothing. She was the colour of the Moon; she held the harp at her side and moved one hand now and then in slow arpeggios. I could distinguish the shape of her bosom, her arms, her thighs, just as I remember them now, just as now, when the Moon has become that flat, remote circle, I still look for her as soon as the first silver appears in the sky, and the more it waxes, the more clearly I imagine I can see her, her or something of her, but only her, in a hundred, a thousand different vistas, she who makes the Moon the Moon and, whenever she is full, sets the dogs to howling all night long, and me with them.

When I play, I don’t pay attention to the individual notes. The notes become the melody. The melody becomes the rhythm. The rhythm is the harmony. Whether I play the blues or boogies, concertos or cantatas, I forget about me. I’m Bach. I’m Beethoven. I’m B.B. King. And the music is me. I’m a three-year-old in Italy, running though a field of daisies. I’m a turquoise-backed African sunbird, soaring over the desert savanna. The music slips out and shines like gold. I’m a tiger running through the jungle, strong and powerful. I’m a panther, dark and mysterious. I am so strong. I am in complete control of this world. Chords. Arpeggios. Cadenzas. Sharps and flats. Major chords. Minor scales. Harmony.

The singing of birds became an orchestra- a symphony of gossip and mirth. I'd never heard so many layers of music, never heard the variations and themes that wove between their arpeggios. And beyond the birdsong, there was an ethereal melody- a woman, melancholy and weary... the willow. Gasping, I opened my eyes. The world had become richer, clearer. The brook was a near-invisible rainbow of water that flowed over stones as invitingly smooth as silk. The trees were clothed in a faint shimmer that radiated from their centres and danced along the edges of their leaves. There was no tangy metallic stench- no, the smell of magic had become like jasmine, like lilac, like roses. I would never be able to paint it, the richness, the feel- Maybe fractions of it, but not the whole thing. Magic- everything was magic, and it broke my heart.

Brian and Avis deliver their stacks and try to refuse dinner, but the waiters bring them glasses of burgundy, porcelain plates with thin, peppery steaks redolent of garlic, scoops of buttery grilled Brussels sprouts, and a salad of beets, walnuts, and Roquefort. They drag a couple of lawn chairs to a quiet spot on the street and they balance the plates on their laps. Some ingredient in the air reminds Avis of the rare delicious trips they used to make to the Keys. Ten years after they'd moved to Miami they'd left Stanley and Felice with family friends and Avis and Brian drove to Key West on a sort of second honeymoon. She remembers how the land dropped back into distance: wetlands, marsh, lazy-legged egrets flapping over the highway, tangled, sulfurous mangroves. And water. Steel-blue plains, celadon translucence. She and Brian had rented a vacation cottage in Old Town, ate small meals of fruit, cheese, olives, and crackers, swam in the warm, folding water. Each day stirring into the next, talking about nothing more complicated than the weather, spotting a shark off the pier, a mysterious constellation lowering in the west. Brian sheltered under a celery-green umbrella while Avis swam: the water formed pearls on the film of her sunscreen. They watched the night's rise, an immense black curtain from the ocean. Up and down the beach they hear the sounds of the outdoor bars, sandy patios switching on, distant strains of laughter, bursts of music. Someone played an instrument- quick runs of notes, arpeggios floating in soft ovals like soap bubbles over the darkening water.

To sit alone in the lamplight with a book spread out before you, and hold intimate converse with men of unseen generations - such is a pleasure beyond compare.” -Kenko Yoshida

Poizat says opera lovers cry because they dimly sense that singing is an attempt to escape from words. Language is like a prison house, he thinks, and the singing voice is like a dove trapped inside: the voice wants to float free, without having to mean anything. In every great aria, Poizat observes, there is a moment when the voice—especially a woman’s voice, especially a soprano— begins to do amazing things, warbling and trilling, flying up to impossibly high pitches, falling through cascades of arpeggios and grace notes. The words that are sung are under incredible tension: a single syllable can be pulled and stretched so that it seems to go on forever.

Sadness cultivates an arpeggio returning to the deepest colors expressed as Rhythm and Blues.

Come i suoni di un arpeggio, separati solo da un intervallo... anche noi abbiamo qualcosa in comune. Siamo legati a qualcuno. Attraverso la musica siamo legati a persone che conosciamo e anche a persone che non conosciamo. Insomma, abbiamo legami in tutto il mondo!

Nothing is perfect, she told herself, as she closed the door and put the flowers in water, opening the faucet all the way so that the stream of water would dislodge the fluvial knot jammed in her throat. Nothing is ideal, she insisted, in order to feel the crystalline warmth of pain moistening her eyes, barely wetting the blue watercolors of the wilting flowers that awaited the bitter histrionic dewdrops of her tears. But she couldn’t cry, no matter how many sad songs and sentimental arpeggios she tried to remember; she could never drain the tormented ocean of her life.

From the den, they heard… like the busy whistling of a bird on a branch in springtime… a high-pitched breathy monologue, a squeaky soliloquy… Connor was talking, Connor was babbling, to Casey! They sat side by side on the den sofa – Casey, resting her head on her front paws, gazed off into the middle distance, while Conner looked down upon her from above and held forth. The mumble of little whispery syllables included, frequently, “Ay-ee,” followed by a deep breath, and then another arpeggio of nasally notes. The mother and the speech therapist couldn’t make out the subject, but they perceived emotion, syntax, punctuation, narrative arc, rising tension, and perhaps even denouement. Since Casey’s arrival, Connor had worked hard to speak loudly and clearly enough for his commands to be understood; now he seemed to have grasped the essence of speech as a medium for relaying one’s innermost thoughts and feelings to one’s closest friend.

Similar to the Rodrigo in form, “La Catedral” has a slow, atmospheric introduction, followed by an episodic, rhythmic dance. It is constructed around a simple figure, an arpeggio that Barrios pushes through a series of chord changes: a small gesture, undistinguished in itself, yet full of musical possibilities. I set the music stand aside and play it from memory. The first finger of my left hand holds a bass note while above the theme sways with a tentative rise and fall. My left hand feels secure and steady, the ground on which the music builds. My fingers make swift, pulsing motions that gain weight and mass when the sound is larger, louder. The arpeggio grows increasingly insistent and agitated. I feel every note, not just in my fingers but along my arms to the elbows, where the fingers’ motions begin, and into my shoulders, neck, chest, and back. Everything is connected. My ear, my muscles, my flesh, these notes, and this wood and string—all are parts of a single vibrating structure, communicating their movement to each other. Playing feels different now. For the first time this cathedral is really dancing. It's built on a questioning anxiety. But the structure develops a kind of reassurance, like pleading that becomes a prayer. This feeling is not notated on the page. It is something that takes place within the notes, or between them, and within my body, within the guitar's body. I first played this piece in my third year at the Conservatory, just about the time I bought my church door guitar. With so fine an instrument in my hands, I suddenly heard an unexplored dimension latent in everything I played, as if the guitar knew things I had never dreamed of. It was a moment of great promise for me. The guitar offered a quality of vibration beyond anything I had imagined before, bringing greater forces into motion than just the strings. But in those days I couldn't play it. I was braced too tightly. Playing now feels somehow simpler. I'm not practicing a fantasy of the guitar or of myself, but this instrument, this wood, these strings; I'm playing this music, letting these notes dance. It's easy to forget how simple music is. I'm like a soundboard, whose job is to communicate excitement, to balance tension. Building the instrument and learning to play it involve complicated physics. But music is about vibration, about allowing myself to be moved.

was Marguerite who chose the name for the famous floral perfume with woody undertones that her mother created: Arpège. She named it for the arpeggio of scents – each note following the next – that brings harmony to the perfume.

A lot of people seem to think that the point of the moral life is continence, as if we were made for a lifetime’s toil of scales, arpeggios, and etudes. In fact, the point of the moral life is virtue. We are made for concert performance. We are made to fire on all cylinders and to do so as if effortlessly. Virtue is not a matter of mere moral might; it actually changes us in our inmost being. It makes us good and fit for good deeds.

But when I accept the call of creative passion, I am a bold stroke of vermilion, a renegade hyperbole, or the wild fury of jazz violin. The world is a canvas to explore, a blank page to fill, and an arpeggio of waiting experiences. This moving masterpiece called “life” becomes intoxicating when it’s lived as if it were art.

How much longer can I get away with being so fucking cute? Not much longer. The shoes with bows, the cunning underwear with slogans on the crotch — Knock Here, and so forth — will have to go, along with the cat suit. After a while you forget what you really look like. You think your mouth is the size it was. You pretend not to care. When I was young I went with my hair hiding one eye, thinking myself daring; off to the movies in my jaunty pencil skirt and elastic cinch-belt, chewed gum, left lipstick imprints the shape of grateful, rubbery sighs on the cigarettes of men I hardly knew and didn’t want to. Men were a skill, you had to have good hands, breathe into their nostrils, as for horses. It was something I did well, like playing the flute, although I don’t. In the forests of grey stems there are standing pools, tarn-coloured, choked with brown leaves. Through them you can see an arm, a shoulder, when the light is right, with the sky clouded. The train goes past silos, through meadows, the winter wheat on the fields like scanty fur. I still get letters, although not many. A man writes me, requesting true-life stories about bad sex. He’s doing an anthology. He got my name off an old calendar, the photo that’s mostly bum and daisies, back when my skin had the golden slick of fresh-spread margarine. Not rape, he says, but disappointment, more like a defeat of expectations. Dear Sir, I reply, I never had any. Bad sex, that is. It was never the sex, it was the other things, the absence of flowers, the death threats, the eating habits at breakfast. I notice I’m using the past tense. Though the vaporous cloud of chemicals that enveloped you like a glowing eggshell, an incense, doesn’t disappear: it just gets larger and takes in more. You grow out of sex like a shrunk dress into your common senses, those you share with whatever’s listening. The way the sun moves through the hours becomes important, the smeared raindrops on the window, buds on the roadside weeds, the sheen of spilled oil on a raw ditch filling with muddy water. Don’t get me wrong: with the lights out I’d still take on anyone, if I had the energy to spare. But after a while these flesh arpeggios get boring, like Bach over and over; too much of one kind of glory. When I was all body I was lazy. I had an easy life, and was not grateful. Now there are more of me. Don’t confuse me with my hen-leg elbows: what you get is no longer what you see.

Die Rippen sangen die Melodie des Schmerzes, aber Knie, Ellenbogen und Kopf fügten Triller und Arpeggios hinzu." (Klonk!)