Chord Related Quotes

In the consciousness that another mind reflects your thought, you find the keenest satisfaction. Here is the high office of a friend, and in these high experiences is the point of attachment.--

One of the things I always thought was the secret of The Beatles was that our music was self-taught. We were never consciously thinking of what we were doing. Anything we did came naturally. A breathtaking chord change wouldn't happen because we knew how that chord related to another chord. We weren't able to read music or write it down, so we just made it up. My dad was exactly the same. And there's a certain joy that comes into your stuff if you didn't mean it, if you didn't try to make it happen and it happens of its own accord. There's a certain magic about that. So much of what we did came from a deep sense of wonder rather than study. We didn't really study music at all.

Our eyes finally meet—he’s still staring at me, lips parted. And I can’t get a read on his expression. As the moments stretch on, a bud of nervousness blooms in my stomach, its vine wrapping around my vocal chords. “I…I wasn’t sure what you had planned for tonight. You didn’t tell me.” Those long lashes blink, but he doesn’t say anything. I raise my hand toward the kitchen. “I can go change if this isn’t—” “No.” Nicholas steps forward, his hand up. “No, don’t change a thing. You’re…absolutely perfect.” And he’s looking at me like he never wants to stop. “I didn’t expect…I mean, you’re lovely…b-but…” “Wasn’t there a movie about a king who stuttered?” I tease him. “Was he a relative of yours?” He chuckles. And call me crazy, but I swear Nicholas’s cheeks go slightly pink. “No, stuttering doesn’t run in my family.” He shakes his head. “You just knocked me on my arse.” And now I’m beaming. “Thank you. You look pretty great too, Prince Charming.” “I actually know a Prince Charming. He’s first-class prick.” “Well. Now that you’ve tarnished a precious piece of my childhood, this better be some date,” I tease. “It will be.” He holds out his hand to me. “Shall we?

That struck a chord with me, because I know how important it is to look into the eyes of an audience when I’m giving a talk. I don’t just scan the audience; I catch the eye of individual people and hold their gaze for a few seconds. When I do that, something happens between us. I’m actually talking to someone, not just saying the words I’ve prepared, and as a result something changes in my tone of voice. It becomes more personal and direct. And I get reinforcement from the warmth I see in the faces.

A black intern at the County Hospital now watched Mary Young die of pneumonia. The intern did not know her. He had been in Midland City for only a week. He wasn't even a fellow-American, although he had taken his medical degree at Harvard. He was an Indaro. He was a Nigerian. His name was Cyprian Ukwende. He felt no kinship with Mary or with any American blacks. He felt kinship only with Indaros. As she died, Mary was as alone on the planet as were Dwayne Hoover or Kilgore Trout. She had never reproduced. There were no friends or relatives to watch her die. So she spoke her very last words on the planet to Cyprian Ukwende. She did not have enough breath left to make her vocal chords buzz. She could only move her lips noiselessly. Here is all she had to say about death: "Oh my, oh my.

I was still in and out of consciousness so much, and so emotional. But there were little things that helped. I remember at one point hearing my dad say, “He likes music. I am going to put on some music.” He brought in a little red radio and left it on this Top 40 station all the time hoping to cheer me up. Top 40 stations play the same songs over and over again. At the time there was one song that stood out and struck a chord with me: Sheryl Crow’s “Good is Good.” I don’t know what Sheryl Crow’s intentions were when she wrote it, but I felt like she was singing to me directly. I really related to this song. The words would bounce around my head even when I was asleep, about things going south and that it was up to you to make it better. Things are only as good as you make them. I felt calmer and comforted every time I heard it.

To B-major or B-minor: that is the question. Consider that the major and minor chords are separated by the smallest tonal step which is one half-step carrying in its pitch the gravity of all humanity which needs the major to recognize its relative, inherent tragedy which once given expression seeks the resurrection that only the major can procreate which self-expression gives beauty to the harmony of the major which then confirms the whole truth of the tragic minor saga which overcomes the hidden hand of destiny in the great ellipse of being and the greater cosmic void of nothingness which passage of time has sadly destined to be replayed in the same octave of the ineluctable modality of the audible which ellipse with such a simple twist resonates as infinity which is both meaningless beyond all human capacity for understanding but which holds within it the ubiquitous mystic beauty and truth of the pulsing human heart.

Modern debates were over truth and reality, reason and experience, liberty and equality, justice and peace, beauty and progress. In the postmodern framework, those concepts always appear in quotation marks. Our most strident voices tell us that “Truth” is a myth. “Reason” is a white male Eurocentric construct. “Equality” is a mask for oppressions. “Peace” and “Progress” are met with cynical and weary reminders of power—or explicit ad hominem attacks. Postmodern debates thus display a paradoxical nature. Across the board, we hear, on the one hand, abstract themes of relativism and egalitarianism. Those themes come in both epistemological and ethical forms. Objectivity is a myth; there is no Truth, no Right Way to read nature or a text. All interpretations are equally valid. Values are socially subjective products. Culturally, therefore, no group’s values have special standing. All ways of life from Afghani to Zulu are legitimate. Coexisting with these relativistic and egalitarian themes, we hear, on the other hand, deep chords of cynicism. Principles of civility and procedural justice simply serve as masks for hypocrisy and oppression born of asymmetrical power relations, masks that must be ripped off by crude verbal and physical weapons: ad hominem argument, in-your-face shock tactics, and equally cynical power plays. Disagreements are met—not with argument, the benefit of the doubt, and the expectation that reason can prevail—but with assertion, animosity, and a willingness to resort to force.

the preparation and resolution of a dis-c(5rd ; the transition from a point of rest to one of unrest, and thence to a new point of rest, which is one of the great underlying prmciples of musical art. Concords, and discords, and the sys-tematisation of tones into scales, are all inextricably mixed up together, and Debussy's departure from what has hitherto been the ordered procedure in relation to chords has involved a proportionate departure, or nearly so, as regards scales. This, again, it is possible to consider as an addition to, rather than a destruction of the proved resources of music. The universal employment of the major and minor modes exclusively, was born of expedience. They made for elasticity and security ; but at the same time the door was thereby closed upon the old Church modes, and with them, upon a range of effects which belonged to these old-world modes alone. Many of these effects Debussy has revived, but in this only treading more continuously in a path which has been adventured upon by various composers, from Beethoven to Weingartner. Not the construction of music, however, but its effect, is the main subject of consideration so far as the non-professional public is concerned. In this connection there are a few points which it will be worth while to consider with some little attention, for upon this consideration will it depend very much whether one takes a reasonable view, or the reverse, of Debussy's music. and the reverse, it should be mentioned, may equally well be laudatory or hostile ; adulation or detraction alike insufficiently informed. In the first place it is to be borne in mind that Debussy's music overrides a good many established theories, or rather the limitations within which the operation of these theories has hitherto been confined.

Flash” is basically “Satisfaction” in reverse. Nearly all of these riffs are closely related. But if someone said, “You can play only one of your riffs ever again,” I’d say, “OK, give me ‘Flash.’ ” I love “Satisfaction” dearly and everything, but those chords are pretty much a de rigueur course as far as songwriting goes. But “Flash” is particularly interesting. “It’s allllll

On a deeper level, modes show the relationships between chords and scales, and they are completely relative to the chords that are playing underneath in the background, or on the backing track. This concept will be extremely important when it comes to 7-note scales,

Particle theory explains that all matter is made of many small particles that are always moving. There are particles in solids, liquids, and gases, and all of them continually vibrate, in varying directions, speeds, and intensities.17 Particles can only interact with matter by transferring energy. Waves are the counterpart to particles. There are three ways to regard waves: •​A disturbance in a medium through which energy is transferred from one particle within the medium to another, without making a change in the medium. •​A picture of this disturbance over time. •​A single cycle representing this disturbance. Waves have a constructive influence on matter when they superimpose or interact by creating other waves. They have a destructive influence when reflected waves cancel each other out. Scientists used to believe that particles were different from waves, but this is not always true, as you will see in the definition of wave-particle duality in this section. Waves, or particles operating in wave mode, oscillate, or swing between two points in a rhythmic motion. These oscillations create fields, which can in turn create more fields. For instance, oscillating charged electrons form an electrical field, which generates a magnetic field, which in turn creates an electrical field. Superposition in relation to waves means that a field can create effects in other objects, and in turn be affected itself. Imagine that a field stimulates oscillations in an atom. In turn, this atom makes its own waves and fields. This new movement can force a change in the wave that started it all. This principle allows us to combine waves; the result is the superposition. We can also subtract waves from each other. Energy healing often involves the conscious or inadvertent addition or subtraction of waves. In addition, this principle helps explain the influence of music, which often involves combining two or more frequencies to form a chord or another harmonic. A harmonic is an important concept in healing, as each person operates at a unique harmonic or set of frequencies. A harmonic is defined as an integer multiple of a fundamental frequency. This means that a fundamental tone generates higher-frequency tones called overtones. These shorter, faster waves oscillate between two ends of a string or air column. As these reflected waves interact, the frequencies of wavelengths that do not divide into even proportions are suppressed, and the remaining vibrations are called the harmonics. Energy healing is often a matter of suppressing the “bad tones” and lifting the “good tones.” But all healing starts with oscillation, which is the basis of frequency. Frequency is the periodic speed at which something vibrates. It is measured in hertz (Hz), or cycles per second. Vibration occurs when something is moving back and forth. More formally, it is defined as a continuing period oscillation relative to a fixed point—or one full oscillation.

You might be having a swim or screwing the old lady, but somewhere in the back of the mind, you’re thinking about this chord sequence or something related to a song.