Keyboard Music Quotes

We've searched our database for all the quotes and captions related to Keyboard Music. Here they are! All 103 of them:

Color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.
Wassily Kandinsky (Concerning the Spiritual in Art)
Uttering a word is like striking a note on the keyboard of the imagination.
Ludwig Wittgenstein
As for the piano, the faster her fingers flew over it, the more he marveled. She struck the keys with aplomb and ran from one end of the keyboard to the other without a stop.
Gustave Flaubert (Madame Bovary)
Memory is the grid of meaning we impose on the random and bewildering flux of the world. Memory is the line we pay out behind us as we travel through time--it is the clue, like Ariadne's, which means we do not lose our way. Memory is the lasso with which we capture the past and haul it from chaos towards us in nicely ordered sequences, like those of baroque keyboard music.
Angela Carter (Burning Your Boats: The Collected Short Stories)
...playing with the Barbie-size keyboard on my new phone. Phones are like toys now. They fit in your pocket, light up and vibrate like joy buzzers. Plus, you can get-I mean, "access"-the Internet and find anything you want. Music. Maps. Porn. Anything. If cell phones came with a cigarette dispenser, they'd be the greatest stupid invention ever.
Richard Kadrey (Sandman Slim (Sandman Slim, #1))
Give yourself a winter night, long candles, unfamiliar music, a typewriter, keyboard, an instrument, or canvas, to set fire to your mind. Surrender. Be with art. Let the room become a constellation, trust it and ride.
Victoria Erickson (Rhythms and Roads)
He knew that the very memory of the piano falsified still further the perspective in which he saw the elements of music, that the field open to the musician is not a miserable stave of seven notes, but an immeasurable keyboard (still almost entirely unknown) on which, here and there only, separated by the thick darkness of its unexplored tracts, some few among the millions of keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by a few great artists who do us the service, when they awaken in us the emotion corresponding to the theme they have discovered, of showing us what richness, what variety lies hidden, unknown to us, in that vast, unfathomed and forbidding night of our soul which we take to be an impenetrable void.
Marcel Proust (Du côté de chez Swann (À la recherche du temps perdu, #1))
Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.
Wassilly Kandinsky
Destiny, quite often, is a determined parent. Mozart was hardly some naive prodigy who sat down at the keyboard and, with God whispering in his ears, let music flow from his fingertips. It's a nice image for selling tickets to movies, but whether or not God has kissed your brow, you still have to work. Without learning and preparation, you won't know how to harness the power of that kiss.
Twyla Tharp (The Creative Habit: Learn It and Use It for Life)
Supposing you hear a cry for help from a man in danger. You will probably feel two desires - one a desire to give help (due to your herd instinct), the other a desire to keep out of danger (due to the instinct for self-preservation). But you will find inside you, in addition to these two impulses, a third thing which tells you that you ought to follow the impulse to help, and suppress the impulse to run away. Now this thing that judges between two instincts, that decides which should be encouraged, cannot itself be either of them. You might as well say that the sheet of music which tells you, at a given moment, to play one note on the piano and not another, is itself one of the notes on the keyboard. The Moral Law tells us the tune we have to play: our instincts are merely the keys.
C.S. Lewis (Mere Christianity)
I don’t know what to say. That’s the problem with words. In my head, words are magic. My thoughts are eloquent and fierce. On the page, words are music. In the clicks of my keyboard, in the scratches of pencil meeting paper. In the beauty of the eraser, of the backspace key. On the page, the words in my head sing and dance with the precision of diction and the intricacies of rhythm. Out loud? Words are the worst.
Marisa Kanter (What I Like About You)
Why did you come back?” It felt like a trick question. My hard-won hermitage — begun by me, secured by Jeremy — was no small thing. It was a chance to be someone else, and how many of those do you get? And yet I’d left it behind. I came back because I had to. Because there was nothing wrong in the world except that I was getting older in it. Because Sam and Grace had told me I should go if that was what I wanted. What I wanted was: I wanted. Isabel — I wanted to make something. At the beginning of all of this, I had just been a kid with a keyboard. It was less the game of it, and more those hours I spent falling from song to song. “I want to make an album,” I said. “I miss making music.” I could tell he approved of my answer.
Maggie Stiefvater (Sinner (The Wolves of Mercy Falls, #4))
In January 2006, Phantom of The Opera broke the record for the longest-running show in Broadway history, overtaking Cats and reminding us what real entertainment is about: candles, dry ice, big hair, and the sort of synthesized chord progressions only achieved by a collapse at the keyboard.
Emma Brockes (What Would Barbra Do?: How Musicals Changed My Life)
Choosing sides, the captain of the Red Team says, “We’ll give you our best -pitcher.…” And we’ll take the kid who picks his nose and eats it. And we’ll take the kid who smells like piss. We’ll take the leper and the left-handed Satanist and the HIV-infected hemophiliac and the hermaphrodite and the pedophile. We’ll take drug addiction and we’ll take JPEGs of the world instead of the world, MP3s instead of music, and we’ll trade real life for sitting at a keyboard. We’ll spot you happiness and we’ll spot you humanity, and we’ll sacrifice mercy just so long as you keep Cannibal at bay.
Chuck Palahniuk (Cannibal)
Geeks are not the world’s rowdiest people. We’re quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the ‘giant robots shooting each other and everything else in sight’ variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.
Angela Korra'ti (Faerie Blood (The Free Court of Seattle #1))
A woman bathed in gold came out and took a seat at a piano keyboard. Behind her a second woman, dressed in similar fashion, came to sit nearby with her violin. The pianist’s fingers began to dance across the keyboard, giving it a voice. Her hands were a work of art, speaking a language that predated words.
Kayla Cunningham (Fated to Love You (Chasing the Comet Book 1))
Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.
Nathan Squiers (Death Metal)
Name a song. Any song at all." She thought for a moment and said, "'Claire de Lune.'" I placed my hands on the keyboard. I closed my eyes and tilted my head back and struck a key, sounding a single note. "There you go. Gimme another one. I can play the first note of anything. As long as I get to choose the key it's in.
Michael Darling (Got Luck (Behindbeyond, #1))
The music was intended to replicate or even enhance the mind-altering experiences of the psychedelic drugs. They were using electric guitars, wah-wah pedals, loop music to create ostinato patterns, electric organs, synthesizers (nobody even had any idea what that was at the time, but it was cool to throw it into a conversation), electro-mechanical polyphonic tape replay keyboards, fuzz box effects, backward tapes, you name it. Anything went
Karl Wiggins (Wrong Planet - Searching for your Tribe)
What I love about both programming and music is that they enable you to build incredibly creative, complex, and beneficial things seemingly from thin air -- no additional materials required, just your brain and a keyboard in front of you.
Peter Borum
As his hands fell upon the keyboard, it was still possible to believe a beautiful harmony had been formed at random, in spite of him. But a second later the music came surging out, the power of it sweeping away all doubts, voices, sounds, wiping away the fixed grins and exchanged glances, pushing back the walls, dispersing the light of the reception room out into the nocturnal immensity of the sky beyond the windows. He did not feel as if he were playing. He was advancing through a night, breathing in its delicate transparency, made up as it was of an infinite number of facets of ice, of leaves, of wind. He no longer felt any pain. No fear about what would happen. No anguish or remorse. The night through which he was advancing expressed this pain, this fear, and the irremediable shattering of the past, but this had all become music and now only existed through its beauty.
Andreï Makine (Music of a Life)
As soon as she sees me she swings forward and hits a key on her keyboard. The music cuts off instantly. Strangely, the silence that follows seems just as loud.
Lauren Oliver (Delirium (Delirium, #1))
Other recent studies demonstrate that children who are taught to read music and play the keyboard undergo significant changes in their brain and have an advanced capacity for what’s called “spatial sensorimotor mapping.
Daniel J. Siegel (No-Drama Discipline: The Whole-Brain Way to Calm the Chaos and Nurture Your Child's Developing Mind)
The only persons who seemed to follow the music were Mary Jane herself, her hands racing along the keyboard or lifted from it at the pauses like those of a priestess in momentary imprecation, and Aunt Kate standing at her elbow to turn the page.
James Joyce (Dubliners)
I heard what I'd learned against my will to identify as new age music. Aimless and spacey, it meandered from unresolved keyboard chord to unresolved keyboard chord with some somnolent noodling in place of melody. Drooling pianos, music to sleepwalk by.
Timothy Hallinan (Skin Deep)
Then I saw the keyboard of an organ which filled one whole side of the walls. On the desk was a music-book covered with red notes. I asked leave to look at it and read, ‘Don Juan Triumphant.’ ‘Yes,’ he said, 'I compose sometimes.’ I began that work twenty years ago. When I have finished, I shall take it away with me in that coffin and never wake up again.’ 'You must work at it as seldom as you can,’ I said. He replied, 'I sometimes work at it for fourteen days and nights together, during which I live on music only, and then I rest for years at a time.’ 'Will you play me something out of your Don Juan Triumphant?’ I asked, thinking to please him. 'You must never ask me that,’ he said, in a gloomy voice. 'I will play you Mozart, if you like, which will only make you weep; but my Don Juan, Christine, burns; and yet he is not struck by fire from Heaven.’ Thereupon we returned to the drawing-room. I noticed that there was no mirror in the whole apartment. I was going to remark upon this, but Erik had already sat down to the piano. He said, 'You see, Christine, there is some music that is so terrible that it consumes all those who approach it. Fortunately, you have not come to that music yet, for you would lose all your pretty coloring and nobody would know you when you returned to Paris. Let us sing something from the Opera, Christine Daae.’ He spoke these last words as though he were flinging an insult at me.” “What did you do?” “I had no time to think about the meaning he put into his words. We at once began the duet in Othello and already the catastrophe was upon us. I sang Desdemona with a despair, a terror which I had never displayed before. As for him, his voice thundered forth his revengeful soul at every note. Love, jealousy, hatred, burst out around us in harrowing cries. Erik’s black mask made me think of the natural mask of the Moor of Venice. He was Othello himself. Suddenly, I felt a need to see beneath the mask. I wanted to know the FACE of the voice, and, with a movement which I was utterly unable to control, swiftly my fingers tore away the mask. Oh, horror, horror, horror!” Christine stopped, at the thought of the vision that had scared her, while the echoes of the night, which had repeated the name of Erik, now thrice moaned the cry: “Horror! … Horror! … Horror!
Gaston Leroux (The Phantom of the Opera)
My hands moved up and down the keyboard, summoning great waves of music, each one crested with sorrow, loneliness, and anger. Tides of emotion rose and fell, gradually finding their way down my arms and to the keys, becoming harmonies that filled and then dissipated into the air like mist.
Sarah Beard (Porcelain Keys)
Music has an alchemical quality. And there's more than one voice on the piano. You have two hands. One can be playing a celestial melody while the other is doing quite the opposite. The joining of the profane and the sacred, or the passionate and the compassionate, happens right there on the keyboard.
Tori Amos (Tori Amos: Piece by Piece: A Memoir)
Consider this, music is a collection of sounds and silences, if music was just a constant sound, it would be horrible and difficult to listen to, if music was just silence there would be nothing to listen to. In fact, rests could be easily compared to punctuation, if we ignored commas and full stops then reading and indeed speaking would become chaotic.
Michael Shaw (Easy Sheet Music For Piano - Electronic Keyboard & Electric Organ - Book 1: Five Easy Pieces & Tutorials For Electronic Keyboard & Organ With Left Hand Chords)
Listening to him play was like discovering an eagle in the wild. It was tumblingly bewitching. She could feel and hear genius—she knew it. “Blake.” She didn’t have to say more. He locked his emerald eyes on hers, and she could not look away. Not for anything. He let his happy song trickle into a more intimate one. Blake’s fingers moved as he held her gaze. “I wrote this one while we danced the other night,” he said softly. The music washed over her. It changed her. Refreshed her. Made her more than she was. Blake stood and twisted the keyboard around, still playing with one hand. He motioned for her with the other. She nearly ran. He scooped her up with one arm and set her on the table next to the keyboard.
Debra Anastasia (Poughkeepsie (Poughkeepsie Brotherhood, #1))
In order to understand how engineers endeavor to insure against such structural, mechanical, and systems failures, and thereby also to understand how mistakes can be made and accidents with far-reaching consequences can occur, it is necessary to understand, at least partly, the nature of engineering design. It is the process of design, in which diverse parts of the 'given-world' of the scientist and the 'made-world' of the engineer are reformed and assembled into something the likes of which Nature had not dreamed, that divorces engineering from science and marries it to art. While the practice of engineering may involve as much technical experience as the poet brings to the blank page, the painter to the empty canvas, or the composer to the silent keyboard, the understanding and appreciation of the process and products of engineering are no less accessible than a poem, a painting, or a piece of music. Indeed, just as we all have experienced the rudiments of artistic creativity in the childhood masterpieces our parents were so proud of, so we have all experienced the essence of structual engineering in our learning to balance first our bodies and later our blocks in ever more ambitious positions. We have learned to endure the most boring of cocktail parties without the social accident of either our bodies or our glasses succumbing to the force of gravity, having long ago learned to crawl, sit up, and toddle among our tottering towers of blocks. If we could remember those early efforts of ours to raise ourselves up among the towers of legs of our parents and their friends, then we can begin to appreciate the task and the achievements of engineers, whether they be called builders in Babylon or scientists in Los Alamos. For all of their efforts are to one end: to make something stand that has not stood before, to reassemble Nature into something new, and above all to obviate failure in the effort.
Henry Petroski
This is what nibbling your ear sounds like.” Blake created a soundtrack for his teeth. “This is what looking into your eyes sounds like.” The notes were deep and beckoning. “This is what my mind hears when my tongue is in your mouth.” The kiss sounded steamy and delicate. The rhythm was her heartbeat as he sampled her mouth. “But when you smile. When you smile it’s…” Blake scooted the keyboard around behind her. He needed both hands. She put her hands on his face and smiled in amazement as the music exploded. She couldn’t imagine how her simple facial gesture could inspire such a majestic sound. He smiled back. “One thousand nine hundred and ten.” “So many? Really?” “Yes, really. And it’s not nearly enough. I want to lose count, Livia. Make me lose count.” His hands left the beautiful music and grabbed handfuls of her hair.
Debra Anastasia (Poughkeepsie (Poughkeepsie Brotherhood, #1))
For instance, having an intense emotional shock from seeing a snake coming out of my keyboard or a vampire entering my room, followed by a period of soothing safety (with chamomile tea and baroque music) long enough for me to regain control of my emotions, would be beneficial for my health, provided of course that I manage to overcome the snake or vampire after an arduous, hopefully heroic fight and have a picture taken next to the dead predator.
Nassim Nicholas Taleb (Antifragile: Things That Gain From Disorder)
I can’t play a musical instrument. Or at least I can’t play one well enough to expect people to listen to me. Yet I have the strong desire to perform music. From the beginning, therefore, my intention was to write as if I were playing an instrument. I still feel like that today. I sit tapping away at the keyboard searching for the right rhythm, the most suitable chords and tones. This is, and has always been, the most important element in my literature.
Haruki Murakami (Novelist as a Vocation)
Jobs spent part of every day for six months helping to refine the display. “It was the most complex fun I’ve ever had,” he recalled. “It was like being the one evolving the variations on ‘Sgt. Pepper.’ ” A lot of features that seem simple now were the result of creative brainstorms. For example, the team worried about how to prevent the device from playing music or making a call accidentally when it was jangling in your pocket. Jobs was congenitally averse to having on-off switches, which he deemed “inelegant.” The solution was “Swipe to Open,” the simple and fun on-screen slider that activated the device when it had gone dormant. Another breakthrough was the sensor that figured out when you put the phone to your ear, so that your lobes didn’t accidentally activate some function. And of course the icons came in his favorite shape, the primitive he made Bill Atkinson design into the software of the first Macintosh: rounded rectangles. In session after session, with Jobs immersed in every detail, the team members figured out ways to simplify what other phones made complicated. They added a big bar to guide you in putting calls on hold or making conference calls, found easy ways to navigate through email, and created icons you could scroll through horizontally to get to different apps—all of which were easier because they could be used visually on the screen rather than by using a keyboard built into the hardware.
Walter Isaacson (Steve Jobs)
Once in a while, she said, the patients put on a theatrical show here, and beneath the stage a magnificent grand piano awaited the next production or display of the musical talents of an inmate. I congratulated her on this impressive piece of furniture and she smiled with pleasure. A moment later she was called away, and idly lifting the lid over the keyboard I was faced with the fact that the piano possessed no keys. It was a discovery which at that moment seemed of extreme symbolical significance.
Norman Lewis (A Goddess in the Stones: Travels in India)
When he went to PARC for his formal interview, Kay was asked what he hoped his great achievement there would be. “A personal computer,” he answered. Asked what that was, he picked up a notebook-size portfolio, flipped open its cover, and said, “This will be a flat-panel display. There’ll be a keyboard here on the bottom, and enough power to store your mail, files, music, artwork, and books. All in a package about this size and weighing a couple of pounds. That’s what I’m talking about.” His interviewer scratched his head and muttered to himself, “Yeah, right.” But Kay got the job.
Walter Isaacson (The Innovators: How a Group of Hackers, Geniuses, and Geeks Created the Digital Revolution)
the club had provided for music was a lone pianist who had no idea what kind of piece might accompany such an exotic dance. Bloom thought a moment, hummed a tune, then plinked it out on the keyboard one note at a time: Over the next century this tune and its variations would be deployed in a succession of mostly cheesy movies, typically as an accompaniment to the sinuous emergence of a cobra from a basket. It would also drive the schoolyard lyric, “And they wear no pants in the southern part of France.” Bloom regretted his failure to copyright the tune. The royalties would have run into the millions.
Erik Larson (The Devil in the White City)
Her hands flew off the keyboard—she crouched as though she had been shot, saw yellow spots and then experienced a peaceful wave of oneness in which she entered pure communion. She was locked into the music, held there safely, entirely understood. Such was her innocence that she didn’t know she was experiencing a sexual climax, but believed rather that what she felt was the natural outcome of this particular nocturne played to the utmost of her skills—and so it came to be. Chopin’s spirit became her lover. His flats caressed her. His whole notes sank through her body like clear pebbles. His atmospheric trills were the flicker of a tongue. His pauses before the downward sweep of notes nearly drove her insane. The
Louise Erdrich (The Last Report on the Miracles at Little No Horse)
#WIPBehindtheFan People wonder how she can do this; the truth of it was she feels alone on stage. She never sees them, the men that pay to see her. Never sees their faces behind the glare of the lights. She tunes out the catcalls, the whistles and the call of her stage name. She ignores everything with the exception of the piano. She allows the keyboard access to her body and soul. She escapes into the music that capture her with notes as airy as a feather or powerful with chords drum on her like a storm. Dottie throws back her head disappearing into the music as it wraps around her, spinning her with its notes. Smiling as she loses herself in her surrender. Giving herself to the piano notes as she would the piano player: Nick Denham.
Caroline Walken
What started as ways to amuse the Sforza court soon became serious attempts to make better musical instruments. “Leonardo’s instruments are not merely diverting devices for performing magic tricks,” according to Emanuel Winternitz, a curator of musical instruments at the Metropolitan Museum in New York. “Instead, they are systematic efforts by Leonardo to realize some basic aims.” 14 These include new ways to use keyboards, play faster, and increase the range of available tones and sounds. In addition to earning him financial stipends and an entrée at court, his musical pursuits launched him onto more substantive paths: they laid the ground for his work on the science of percussion—how striking an object can produce vibrations, waves, and reverberations—and exploring the analogy between sound waves and water waves.
Walter Isaacson (Leonardo da Vinci)
Can I give you my gift now?” Blake reached in his pocket. “You gave me this already.” Livia wiggled her ring finger. He unfolded the music and held it open for her.“You wrote me a song,” she gasped. “I love it, though you know I can’t read music.” She kissed his lips and held the paper against her heart. “Wait! Oh my gosh. Let me get your gift.” She grabbed a gift bag Kyle had left by the steps. Just before she could hand it to him, she pulled it back. “But what if you hate it? It’s either perfect or horrible. Now I’m worried.” Blake tilted his head and squinted his eyes. “It’s perfect. I’m sure of it. Hand it over.” Livia looked sheepish as he moved the tissue paper out of the way. He unrolled the familiar-shaped cardboard and stared at the keyboard she had painstakingly drawn. Livia tried to cover her worry with words. “I’m not sure if I should have replaced it. I mean, I know nothing could replace it. I tried to get the keys right. I went through like ten boxes and—” Blake could move quickly when he wanted to, and she gasped as he kissed her mid-word. He finally stopped long enough to thank her. “Every time I think I couldn’t love you a bit more, you stretch my heart again.
Debra Anastasia (Poughkeepsie (Poughkeepsie Brotherhood, #1))
Translating how that latter fact came to life in the studio, engineer Chuck Zwicky explained from his own observations during the recording of the album that “the way that Prince’s music comes together has everything to do with how he views the individual instruments, and for example, when he’s sitting down at the drums, he’s derivatively thinking about Dave Gerbaldi, the drummer from Tower of Power, and that’s a real fascile and funky drummer; and when he plays keyboards, he’s thinking about James Brown’s horn player, on one aspect; and when he’s playing guitar, other elements creep in, because he loves Carlos Santana, and Jimi Hendrix, and this other guitar player named Bill Nelson, a rock guitar player from the 70s. And so these aspects all come together to make this unique sound that is Prince, and it’s not rock, it’s not funk, it’s not jazz, it’s not blues—it’s just his own kind of music. I remember there was one particular moment when he started playing this keyboard line, and I’m thinking ‘He can’t play that, that’s Gary Newman.’ And at that moment, he stops the tape, and turns and looks at me and asks ‘Do you like Gary Newman?’ And I said ‘You know, the album Replica never left my turntable in Jr. High School after my sister bought it for me. I listened to it until it wore out.’ And he said ‘There are people still trying to figure out what a genius he is.
Jake Brown (Prince 'in the Studio' 1975 - 1995)
The usual notion of prayer is so absurd. How can those who know nothing about it, who pray little or not at all, dare speak so frivolously of prayer? A Carthusian, a Trappist will work for years to make of himself a man of prayer, and then any fool who comes along sets himself up as judge of this lifelong effort. If it were really what they suppose, a kind of chatter, the dialogue of a madman with his shadow, or even less—a vain and superstitious sort of petition to be given the good things of this world, how could innumerable people find until their dying day, I won't even say such great 'comfort'—since they put no faith in the solace of the senses—but sheer, robust, vigorous, abundant joy in prayer? Oh, of course—suggestion, say the scientists. Certainly they can never have known old monks, wise, shrewd, unerring in judgement, and yet aglow with passionate insight, so very tender in their humanity. What miracle enables these semi-lunatics, these prisoners of their own dreams, these sleepwalkers, apparently to enter more deeply each day into the pain of others? An odd sort of dream, an unusual opiate which, far from turning him back into himself and isolating him from his fellows, unites the individual with mankind in the spirit of universal charity! This seems a very daring comparison. I apologise for having advanced it, yet perhaps it might satisfy many people who find it hard to think for themselves, unless the thought has first been jolted by some unexpected, surprising image. Could a sane man set himself up as a judge of music because he has sometimes touched a keyboard with the tips of his fingers? And surely if a Bach fugue, a Beethoven symphony leave him cold, if he has to content himself with watching on the face of another listener the reflected pleasure of supreme, inaccessible delight, such a man has only himself to blame. But alas! We take the psychiatrists' word for it. The unanimous testimony of saints is held as of little or no account. They may all affirm that this kind of deepening of the spirit is unlike any other experience, that instead of showing us more and more of our own complexity it ends in sudden total illumination, opening out upon azure light—they can be dismissed with a few shrugs. Yet when has any man of prayer told us that prayer had failed him?
Georges Bernanos (The Diary of a Country Priest)
is the strength of the songwriting. Dark Side contained strong, powerful songs. The overall idea that linked those songs together – the pressures of modern life – found a universal response, and continues to capture people’s imagination. The lyrics had depth, and had a resonance people could easily relate to, and were clear and simple enough for non-native-English speakers to understand, which must have been a factor in its international success. And the musical quality spearheaded by David’s guitar and voice and Rick’s keyboards established a fundamental Pink Floyd sound. We were comfortable with the music, which had had time to mature and gestate, and evolve through live performances – later on we had to stop previewing work live as the quality of the recording equipment being smuggled into gigs reached near-studio standards. The additional singers and Dick Parry’s sax gave the whole record an extra commercial sheen. In addition, the sonic quality of the album was state of the art – courtesy of the skills of Alan Parsons and Chris Thomas. This is particularly important, because at the time the album came out, hi-fi stereo equipment had only recently become a mainstream consumer item, an essential fashion accessory for the 1970s home. As a result, record buyers were particularly aware of the effects of stereo and able to appreciate any album that made the most of its possibilities. Dark Side had the good fortune to become one of the definitive test records that people could use to show off the quality of their hi-fi system. The packaging for the album by Storm and Po at Hipgnosis was clean, simple, and immediately striking, with a memorable icon in the shape of the prism.
Nick Mason (Inside Out: A Personal History of Pink Floyd (Reading Edition): (Rock and Roll Book, Biography of Pink Floyd, Music Book))
Preliminary discussions threw up the idea of a record created entirely out of sounds that had not been produced by musical instruments. This seemed suitably radical, and so we started out on a project we called ‘Household Objects’. The whole notion seems absurdly laboured now, when any sound can be sampled and then laid out across a keyboard, enabling a musician to play anything from barking dogs to nuclear explosions.
Nick Mason (Inside Out: A Personal History of Pink Floyd (Reading Edition): (Rock and Roll Book, Biography of Pink Floyd, Music Book))
… I am at best an ‘arranger’ of sorts. Someone who gets lucky at times in arranging those meaningless letters in a sensible pattern; letters that have in them the power of endless possibilities. End of it, despite my best efforts, some of my writings may still remain as disjointed and incoherent as they are on a QWERTY keyboard. And that to me is the rationale for the name of this blog: Worthless Whispers. To sum up, I am like the curious kid who runs his tender fingers on the melodiously mysterious piano, unwittingly hitting the right notes, alternating between music and noise, as if his fingers are guided by the will of the invisible.
It was a vast, low-ceilinged room in the lower levels of the basement. The ceiling was supported by pillars at regular intervals. The room was almost impossible to navigate, being crammed with sixty years’ worth of electronic flotsam and jetsam. He slowly worked his way backward, deeper into the room and further into the past. Toward the back, he came across a large cabinet that he mistook at first for an antique computer. It contained over a hundred vacuum tubes, each with its own set of inductors and capacitors. Then he uncovered the piano-style keyboard with the name HAMMOND above it. “Oh, that must be the Novachord,” said the Teleplay Director. “It’s like an organ, except not. It was used on various radio dramas for a few years, but when we got the Hammond B3’s it went into storage.” Philo told Viridios about it. “They have a Novachord?” Viridios said in surprise. “I’ve heard of it, but I’ve never played one. It was so far ahead of its time that nobody really knew what to do with it. It’s not an organ at all. It’s more like a polyphonic synthesizer.” “That’s not all,” said Philo. “I found some of your old equipment. It’s marked ‘Valence Sound Laboratory.’ It doesn’t look like musical equipment at all, more like scientific equipment. There’s an eight-foot metal cabinet full of circuitry like nothing I’ve ever seen before. The front panel is full of knobs and jacks labeled with mathematical symbols.” Viridios was astonished. “It still exists!” he exclaimed. “I thought it was dismantled and sold for scrap.” “What is it?” “That’s the instrument we used to create the soundtrack for Prisoners of the Iron Star. It’s called a Magneto-Thermion.
Fenton Wood (Five Million Watts (Yankee Republic Book 2))
Let's name some names, shall we? Good arrangers deserve your sheet music dollar: Dan Coates, Richard Bradley, Dan Fox, John Brimhall, Denes Agay, Phillip Keveren - these are all excellent arrangers you should buy. There are others.
Dan Starr (How to Play Much Better on Any Sort of Keyboarded Instrument)
How do we learn to perform, then? The answer is simple: practice performing.  Once a day, decide to sit down and play straight through some music (simple music is better at first!) ignoring all mistakes and somehow keeping the beat going. No pauses. No "instant replays" of messed up measures. Play from start to end with no breaks. It's hard! The urge to correct is intense. But have you ever heard a professional musician perform, make a mistake, turn to the audience and say, "Wait!" and then replay an early section of music? Nope. Professionals performers (and I know since I am one) get so good at moving right on through their errors that people never even hear them.
Dan Starr (How to Play Much Better on Any Sort of Keyboarded Instrument)
You need to be able to read music. For the last three parts you need to be able to play a keyboard instrument well enough to navigate at least most of the musical examples. It helps to have previously investigated the overtone series, or be ready to (the text helps you). Also, the more you are in the habit of listening to the music of the world’s various cultures, the more insight you will bring to this study.
William Allaudin Mathieu (Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression)
My interest in music was non-existent. I never put on a record or picked up a guitar or sat at the keyboard and didn't care if I ever did again.
Mark Lanegan (Devil in a Coma)
People chatted on cell phones and pecked away at keyboards. They had buds in their ears and listened to music or watched videos on their devices. Whatever happened to a cup of coffee and a newspaper? Hell, he thought, whatever happened to newspapers?
Brad Thor (Act of War (Scott Harvath, #13))
What I love about both programming and music is that they enable you to build incredibly creative, complex, and beneficial things seemingly from thin air no additional materials required, just your brain and a keyboard in front of you. Programming and music also both allow for a deep, single-minded immersion in the creative process. They require you to be deeply focused and in the moment for everything to work well, and I find that state of flow to be immensely satisfying.
Peter Borum
input Get data from the "outside world". This might be reading data from a file, or even some kind of sensor like a microphone or GPS. In our initial programs, our input will come from the user typing data on the keyboard. output Display the results of the program on a screen or store them in a file or perhaps write them to a device like a speaker to play music or speak text. sequential execution Perform statements one after another in the order they are encountered in the script. conditional execution Check for certain conditions and then execute or skip a sequence of statements. repeated execution Perform some set of statements repeatedly, usually with some variation. reuse Write a set of instructions once and give them a name and then reuse those instructions as needed throughout your program.
Charles Severance (Python for Everybody: Exploring Data in Python 3)
The (musical) Romantics transformed winter from a single, sharp sound heard out of doors to the bright, muffled chromatic keyboard of extended feeling, full of sharps and flat runs, diminished chords and pedal effects. It is certainly, as poets have said, a good thing to see the world in a grain of sand. But it’s an even better one, and more to the purposes of art, to see a single grain of sand in the whole world. Or a single snowflake. The Romantics saw their snowflakes, embraced their glaciers, and remaking our minds, remade our world. A fearful desert had become a new province of the imagination.
Adam Gopnik (Winter: Five Windows on the Season (The CBC Massey Lectures))
First, never watch your hand as you make finger motions. These include: Simply pressing a finger down to play the note directly underneath, Reaching sideways with a finger to play another key (called a "reach" or an "extension"), and, Crossing the thumb under a finger or a finger over the thumb ("crossovers and crossunders"). When your "fingers do the walking" your eyes should NOT be watching. Second, when your hand must be picked up and moved sideways to a new location, you CAN glance down at the keyboard and back up to the music. will now have to learn to glance down and back up to look directly at the exact point of the music where you need to be looking. That’s a separate skill altogether. Unlike typing, music has a beat and you better not miss it.  I mentioned above that “losing your place” would be discussed. Many more advanced players still have trouble with this, and it's a lack of this skill. The rewards of not watching? Let me spell those out clearly: There is probably nothing you could do which would give you greater speed, better expression, and more confidence than to learn to play without watching your hands. In summary, glance at the really hard hand motions, those with significant sideways displacement. Don't watch anything else. Do this for six months and you will be a completely new musician, a player with skills which will reward you for the many years of your
Dan Starr (How to Play Much Better on Any Sort of Keyboarded Instrument)
Notes give me keys of expression.
Anthony T. Hincks
More than Words If you’ve ever worked in a startup office, you’ll be familiar with a particular kind of quiet—one punctuated only by tap-tapping from keyboards and the occasional sneeze or chair scrape. Everyone sits with earbuds in, listening to music or podcasts or sometimes nothing at all. Most conversations happen via chat programs like Google Hangouts, Skype for Business, and Slack. Even in more traditional offices, it’s become
Kaitlin Ugolik Phillips (The Future of Feeling: Building Empathy in a Tech-Obsessed World)
She not only taught but lived music, existed for those hours when she could be concentrated in her being—which was half music, half divine light, only flesh to the degree she could not admit otherwise. At the piano keyboard, absorbed into the notes that rose beneath her hands, she existed in her essence, a manifestation of compelling sound.
Louise Erdrich (The Last Report on the Miracles at Little No Horse)
Not even the stretto fugues of The Art of Fugue are as single-minded as the Fugue in C Major, whose twenty-seven bars include no episodes and, apart from subject entries, no more than a total of two bars of transitional music preparing the fugue’s three cadences . . . plus a miniature peroration in which the whole thing gently goes up in smoke, up to a high C we have never heard before.
Joseph Kerman (The Art of Fugue: Bach Fugues for Keyboard, 1715–1750)
Musical connoisseurship was a vital part of pleasing the opposite sex, and the pianoforte was one of the few instruments appropriate for ladies. Strings required too many quick, powerful movements, giving the impression that the female player might suffer from a choleric temperament. The violoncello sat between a woman’s legs, arousing male listeners in ways not in keeping with music’s higher purpose. The pianoforte had elegant lines and a keyboard that emphasized a woman’s graceful fingers and dainty wrists. Many a marriage proposal followed a recital, as long as the music was pleasing to the ear and didn’t rattle the gentleman’s composure.
Patricia Morrisroe (The Woman in the Moonlight)
Half the people in the world are below average. That's the definition of average and it certainly explains the behaviour of a lot of people. On the other hand, John Arpin was not average in any respect that I could discover after extensive research. He was extraordinary in many respects, outstanding in his mastery of the keyboard, not to mention his exhaustive knowledge as a music historian and certainly a master story teller, as any Arpin concert-goer would attest.
Robert Popple (John Arpin: Keyboard Virtuoso)
I went to that show, although I remember very little about it. History relates, though, that also in the audience that night was Ian McLagan, later the keyboard player with the Faces, and that the support act was a band called Jeff Beck and the Tridents. But that’s how tight it all seemed to be in those days: at any time, almost everyone who would later matter would be standing around in the same place. One unfortunate gas explosion under the wrong club on the wrong night, and three-quarters of the history of British rock music would have been taken out in one go.
Rod Stewart (Rod: The Autobiography)
keyboards of classic gear like the Nord rack, Korg Triton Studio keyboard/rack, Roland XV series rack, E-MU sound modules, Access Virus, Waldorf, Kurzweil keys/rack, Parametric EQs, and others that they’ll use along with plug-ins. Many of them also use the Electrix rack gear (cheaply priced, good quality and still easy to find on eBay or
Robert Wolff (How to Make It in the New Music Business -- Now With the Tips You've Been Asking For!)
It’s like George always says: being in a rock ʼn’ roll band is very sexy, even when you’re only the keyboard player and your idea of the perfect Saturday night actually amounts to a bubble bath, a Richard Curtis boxset and a seafood linguine.
Christopher Russell (Mockstars)
My fingers traced the melody on an invisible keyboard—my usual way to connect with the music, to feel its emotions on my fingertips. I touched the keys softly, as if gliding my hands through water, but the musical notes kept slipping between my fingers like bubbles, waltzing away in the blue radiance.
Ella Leya (The Orphan Sky)
Think of your brain as being like a Steinway grand piano. All the keys are in place, ready to work at the touch of a finger. Whether a beginner sits down at the keyboard or a world-renowned virtuoso like Vladimir Horowitz or Arthur Rubinstein, the instrument is physically the same. But the music that comes out will be vastly different. The beginner uses less than 1 percent of the piano’s potential; the virtuoso is pushing the limits of the instrument.
Rudolph E. Tanzi (Super Brain)
Pressing a note on the harpsichord's keyboard would, via an elaborate mechanical action,
Music Sales Corporation (Learn To Play Piano in 24 Hours)
You look as if you’ve just lost your best friend.” Eve took a place beside Jenny on this observation, which leavened Jenny’s sense of desolation with a spike of resentment. “With all my family around me, how could I possibly be in want of companionship?” Eve watched their mutual siblings stepping through a minuet while their brother Valentine held forth at the piano. “The same way I can long to dance while the minuet plays all around me.” Marriage had settled Eve, and impending motherhood had only honed her already formidable instincts. “You’re admiring your husband, Lady Deene, even when you can’t dance with him.” “He’s promised me a waltz, though Valentine will probably find one to play at the speed of a dirge.” She fell silent for a moment as the dancers one-two-three’d around the space created by the music room and an adjoining parlor. “You would make a wonderful mother, Jenny.” The worst pain was not in the words Eve offered, but the combination of pleading and pity with which she offered them. “Becoming a mother usually contemplates becoming a wife first, and I’ve no wish to wed some man for the sole purpose of bearing his babies.” Not the sole purpose… As the dancers twirled and smiled, it occurred to Jenny that Victor had made her promise not to stop painting, but he hadn’t said anything specific about eschewing motherhood. Had he? Another pause in the conversation, while the music played on. Eve, however, was notably tenacious, so Jenny waited for the next salvo, and Eve did not disappoint. “You look at Bernward the way I look at Deene, the way Maggie looks at Benjamin, the way—” “Louisa looks at Joseph, I suppose.” And Sophie at her baron too, of course. They needn’t start on how the Windham brothers regarded their respective wives. “Louisa’s gaze is a touch more voracious. I was going to say, the way Mama looks at Papa.” Ouch. Ouch, indeed. The duke and duchess turned down the room with the grace of a more elegant age, and yet, their gazes spoke volumes about the sheer pleasure of sharing a dance. Jenny stated the obvious as matter-of-factly as possible. “Their Graces dance beautifully.” Eve’s feet were propped on a hassock. She wiggled her toes in time with the music, the left and right foot partnering each other. “Bernward also dances quite well.” Elijah was dancing with Valentine’s lady, Ellen’s preferred partner being ensconced at the keyboard, as usual. “Bernward is dancing carefully, lest Valentine take exception.” Eve twitched her skirts. “Bernward is dancing with one eye on you, you ninnyhammer, and with the certain knowledge that all three of our brothers are waiting for him to come over here and get you to stand up with him. How many more times do you think you can check on the punch bowl between sets without Bernward taking insult?” Check
Grace Burrowes (Lady Jenny's Christmas Portrait (The Duke's Daughters, #5; Windham, #8))
Unfortunately love is always a practical exam, never theoretical, and all the thinking in the world is ultimately pointless. It’s like learning to play the piano by reading a manual. You might think you know what to do, but until you’re sat at the keyboard and discover how immensely, overwhelmingly complex it is, how much effort and concentration is required, you know nothing.
James Rhodes (Instrumental: A Memoir of Madness, Medication, and Music)
Harmon wasn’t a polished Ivy Leaguer like Cahill. He was tall, built like a brick shithouse, and he didn’t attend fancy parties. He usually drank alone in the decrepit back-alley bars of some of the worst hellholes in the world. He was a rough man with few attachments and only one purpose. When someone somewhere pushed the panic button, Harmon was what showed up. He had decided to meet the asset in Hong Kong. It made more sense than Shanghai and was much safer than Beijing, especially for a white guy. Harmon had chosen the coffee shop. A Starbucks knockoff. It was busy, with the right mix of Chinese and Anglos. People chatted on cell phones and pecked away at keyboards. They had buds in their ears and listened to music or watched videos on their devices. Whatever happened to a cup of coffee and a newspaper? Hell, he thought, whatever happened to newspapers?
Brad Thor (Act of War (Scot Harvath, #13))
It is utterly unfair,” she said, shooing Wrigley away and tossing aside her blanket, “that your country boy smile isn’t illegal.” She pulled her feet from beneath him, but then she swung a leg over him and straddled his lap, still smiling at him while she took his cheeks in her hands and pressed a soft, open-lipped kiss to his mouth. Will’s pulse kicked up the tempo. He gripped her hips and pushed against her, parted his lips to make way for her tongue. Music exploded inside him. Electric guitars, keyboard, fiddle, bongos. No words, just the white-hot melody of their bodies. The intoxicating scent of her shampoo tickled his nose, but the intrigued woman scent was stronger—heady and spicy and everything. He wanted her.
Jamie Farrell (Matched (Misfit Brides, #2))
That leaves the category of pasture-raised chickens. It seems they’re living the poultry dream—and, according to Jason, we could be, too. I nod as I take another swallow of beer. I don’t say that it sounds like an enormous amount of work or that we live in arguably one of the harshest climates in the continental United States. Nor do I point out that having spent our entire careers jockeying keyboards to make a living, we are not farmers. So while I don’t exactly tune him out, I become a passive listener. A very passive listener. Poultry isn’t exactly the foreplay talk I was hoping for, so instead I just enjoy the rhythm and cadence of his voice. I hear something about pastured hens for- aging on fresh grasses producing healthier, delicious eggs with less fat and cholesterol, something about the local food movement and its ability to remake America’s food system. I signal the server for a second beer and let it all wash over me with an occasional nod until an utterly un-ignorable statement pulls me out. “This is the kind of farm I want to start.” Now I’m listening. In fact, I’m listening so hard I realize that this particular corner of the restaurant is a convergence point for the piped-in music from two separate rooms, and they’re competing against each other like dueling mariachi bands.
Lucie Amundsen
coun·try mu·sic   n. a form of popular music originating in the rural southern U.S. It is traditionally a mixture of ballads and dance tunes played characteristically on fiddle, guitar, steel guitar, drums, and keyboard. Also called COUNTRY AND WESTERN.
Oxford University Press (The New Oxford American Dictionary)
The day he came to PARC for his job interview, Rick Jones invited him into his office and asked him a stock question. “What do you think your greatest achievement will be at PARC?” he asked. “It’ll be a personal computer,” Kay replied. “What’s that?” Spying a flat portfolio on Jones’s desk the size of a student’s notebook, Kay seized it and flipped it open. “This will be a flat-panel display,” he said, indicating the cover, which he held upright. “There’ll be a keyboard here on the bottom, and enough power to store your mail, files, music, artwork, and books. All in a package about this size and weighing a couple of pounds. That’s what I’m talking about.” He walked out, leaving Jones scratching his head and saying to himself, “Yeah, right.
Michael A. Hiltzik (Dealers of Lightning: Xerox PARC and the Dawn of the Computer Age)
We could express this power in the following way: Most of the time we live in an interior world of dreams, desires, and obsessive thoughts. But in this period of exceptional creativity, we are impelled by the need to get something done that has a practical effect. We force ourselves to step outside our inner chamber of habitual thoughts and connect to the world. At these moments, suddenly exposed to new details and ideas, we become more inspired and creative. Once the deadline has passed or the crisis is over, this feeling of power and heightened creativity generally fades away. We return to our distracted state and the sense of control is gone. The problem we face is that this form of power and intelligence is either ignored as a subject of study or is surrounded by all kinds of myths and misconceptions, all of which only add to the mystery. We imagine that creativity and brilliance just appear out of nowhere, the fruit of natural talent, or perhaps of a good mood, or an alignment of the stars. It would be an immense help to clear up the mystery—to name this feeling of power, and to understand how it can be manufactured and maintained. Let us call this sensation mastery—the feeling that we have a greater command of reality, other people, and ourselves. Although it might be something we experience for only a short while, for others—Masters of their field—it becomes their way of life, their way of seeing the world. And at the root of this power is a simple process that leads to mastery—one that is accessible to all of us. The process can be illustrated in the following manner: Let us say we are learning the piano, or entering a new job where we must acquire certain skills. In the beginning, we are outsiders. Our initial impressions of the piano or the work environment are based on prejudgments, and often contain an element of fear. When we first study the piano, the keyboard looks rather intimidating—we don’t understand the relationships between the keys, the chords, the pedals, and everything else that goes into creating music. In a new job situation, we are ignorant of the power relationships between people, the psychology of our boss, the rules and procedures that are considered critical for success. We are confused—the knowledge we need in both cases is over our heads. Although we might enter these situations with excitement about what we can learn or do with our new skills, we quickly realize how much hard work there is ahead of us. The great danger is that we give in to feelings of boredom, impatience, fear, and confusion. We stop observing and learning. The process comes to a halt. If, on the other hand, we manage these emotions and allow time to take its course, something remarkable begins to take shape. As we continue to observe and follow the lead of others, we gain clarity, learning the rules and seeing how things work and fit together. If we keep practicing, we gain fluency; basic skills are mastered, allowing us to take on newer and more exciting challenges.
Robert Greene (The Concise Mastery (The Modern Machiavellian Robert Greene Book 1))
Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!
Hank Bracker
The music of your life is far better played with all the fingers of your Multiple Intelligences performing their magic on the keyboard of your existence.
Kevin Horsley (Unlimited Memory: How to Use Advanced Learning Strategies to Learn Faster, Remember More and be More Productive (Mental Mastery, #1))
The music of your life is far better played with all the fingers of your Multiple Intelligences performing their magic on the keyboard of your existence.” ~ Tony Buzan
Kevin Horsley (Unlimited Memory: How to Use Advanced Learning Strategies to Learn Faster, Remember More and be More Productive (Mental Mastery, #1))
Ussachevsky was well-known for opposing the keyboard. The standard keyboard just did not fit with his conception of how electronic music should be made
Julia quickly looked back down at the keyboard, trying to continue her recital unperturbedly, but she was fully aware of his eyes on her. In fact, she wanted his gaze on her. She wanted him to absorb every note she was playing. And suddenly, she found herself wishing he could somehow hear that this music had once been meant for him.
Jen Minkman (The Boy From The Woods)
Other Kinds of Fun LARGE MOTOR SKILLS ♦  Take a walk on a balance beam, along the curb, or even down a line on the sidewalk. ♦  Play catch (start with a large, slightly deflated ball). ♦  Jump over things (anything more than a few inches, though, will be too high for most kids this age). ♦  Throw, kick, roll, and toss balls of all sizes. ♦  Ride a tricycle. ♦  Spin around till you drop. ♦  Pound, push, pull, and kick. ♦  Make music using drums, xylophones, flutes, and anything else you have handy. ♦  Play Twister. SMALL MOTOR SKILLS ♦  Puzzles (fewer than twenty pieces is probably best). You might even want to cut up a simple picture from a magazine and see whether your toddler can put it back together. ♦  Draw on paper or with chalk on the sidewalk. ♦  Sculpt with clay or other molding substance. ♦  Finger paint. ♦  Play with string and large beads. ♦  Pour water or sand or seeds from one container to another. ♦  Get a big box (from a dishwasher or refrigerator), then build, paint and decorate a house together. THE BRAIN ♦  Matching games. ♦  Alphabet and number games (put colorful magnetic letters and numbers on the fridge and leave them low enough for the child to reach). ♦  Lots of dress-up clothes. ♦  Dolls of all kinds (including action figures). ♦  Pretending games with “real” things (phones, computer keyboards). ♦  Imaginary driving trips where you talk about all the things you see on the road. Be sure to let your toddler drive part of the way. ♦  Sorting games (put all the pennies, or all the triangles, or all the cups together). ♦  Arranging games (big, bigger, biggest). ♦  Smelling games. Blindfold your toddler and have him identify things by their scent. ♦  Pattern games (small-big/small-big). ♦  Counting games (How many pencils are there?). A FEW FUN THINGS FOR RAINY DAYS (OR ANYTIME) ♦  Have pillow fights. ♦  Make a really, really messy art project. ♦  Cook something—kneading bread or pizza dough is especially good, as is roasting marshmallows on the stove (see pages 214–20 for more). ♦  Go baby bowling (gently toss your toddler onto your bed). ♦  Try other gymnastics (airplane rides: you’re on your back, feet up in the air, baby’s tummy on your feet, you and baby holding hands). ♦  Dance and/or sing. ♦  Play hide-and-seek. ♦  Stage a puppet show. ♦  If it’s not too cold, go outside, strip down to your underwear, and paint each other top-to-bottom with nontoxic, water-based paints. Otherwise, get bundled up and go for a long, wet, sloppy, muddy stomp in the rain. If you don’t feel like getting wet, get in the car and drive through puddles.
Armin A. Brott (Fathering Your Toddler: A Dad's Guide To The Second And Third Years (New Father Series))
When all else failed, when there seemed to be nothing but nonsense in the world, he held to this: that good music would always be good music, and great music was impregnable. You could play Bach's preludes and fugues at any tempo, with any dynamics, and they would still be great music, proof even against the wretch who brought ten thumbs to the keyboard. And in the same way, you could not play such music cynically.
Julian Barnes (The Noise of Time)
To say that memory was a lane you could walk along, a path to follow, a linear progression you embarked on from start to finish, was way off base. After this past year, she had decided it was more like a piano keyboard, and the musical notes her mind played in the form of moving-picture images were a pick-and-choose determined more by the sheet music of her mourning than the well-founded logic of her decision to leave Caldwell.
J.R. Ward (The Thief (Black Dagger Brotherhood, #16))
In those days, the pursuit of music was perceived in a pair of dichotomies. Listeners were divided into amateurs and connoisseurs, performers into dilettanti and virtuosi. As in C. P. E. Bach’s keyboard sonatas for Kenner und Liebhaber, composers generally wrote with those divisions in mind. In 1782, Mozart wrote his father about his new concertos, “[H]ere and there connoisseurs alone can derive satisfaction; the non-connoisseurs cannot fail to be pleased, though without knowing why.”35 That defined the essentially populist attitude of what came to be called the Classical style: composers should provide something for everybody, at the same time gearing each work for its setting, whether it was the more intimate and complex chamber music played by enthusiasts in private homes, or public pieces for theater and larger concerts, which were written in a more straightforward style.
Jan Swafford (Beethoven: Anguish and Triumph)
Programming in different languages is like composing pieces in different keys, particularly if you work at the keyboard. If you have learned or written pieces in many keys, each key will have its own special emotional aura.
Douglas R. Hofstadter
Rick contacted me about the session, but he didn't know who in hell was coming in. I said, "Who you got?" He said, "Aretha Franklin." I said, "Boy, you better get your damn shoes on. You getting someone who can sing." Even the Memphis guys didn't really know who in the hell she was. I said, "Man, this woman gonna knock you out." They're all going, "Big deal!" When she come in there and sit down at the piano and hit that first chord, everybody was just like little bees just buzzing around the queen. You could tell by the way she hit the piano the gig was up. It was, "Let's get down to serious business." That first chord she hit was nothing we'd been demoing, and nothing none of them cats in Memphis had been, either. We'd just been dumb-dumb playing, but this was the real thing. That's the prettiest session picture I can ever remember. If I'd had a camera, I'd have a great film of that session, because I can still see it in my mind's eye, just how it was - Spooner on the organ, Moman playing guitar, Aretha at the piano - it was beautiful, better than any session I've ever seen, and I seen a bunch of 'em.' Spooner Oldham, the weedy keyboard player who is most known for never playing the same licks twice and who is ordinarily the most reticent of men, speaks in similar superlatives. 'I was hired to play keyboards. She was gonna stand up in front of the microphone and sing. She was showing us this song she had brought down there with her, she hit that magic chord when Wexler was going up the little steps to the control room, and I just stopped. I said, "Now, look, I'm not trying to cop out or nothing. I know I was hired to play piano, but I wish you'd let her play that thing, and I could get on organ and electric." And that's the way it was. It was a good, honest move, and one of the best things I ever done - and I didn't do nothing.
Peter Guralnick (Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom)
I dare you to…” He pauses, and I want him to say it. I want him to want a kiss, because I realize I’d do it so fast it’d make his head spin. “I dare you to do your happy dance,” he says instead. “Happy dance?” “Come on, everyone has a happy dance.” “But… I have to be extremely happy to do a happy dance. It’s not something I can just, you know, jump into.” “How about I give you some inspiration.” He pulls his phone out of his pocket and presses a few buttons. A song with an upbeat keyboard begins, and Logan stands up. The happy lyrics say something about a birdhouse and a bee. He waves his hand at me to follow. Bouncing on the balls of his feet, he looks at me expectantly. I stand up to face him and try to sway a little. He shakes his head as he turns the volume up. “I just can’t, I’m not happy enough.” “Pretend like the Natchitoches Central Chiefs just won the Super Bowl.” He bounces a little more enthusiastically. “That’s good, I guess.” My sway becomes a little more pronounced. A smile takes hold, not because of the thought of the Chiefs winning the Super Bowl, but because Logan is such an awkward dancer. He’s gone from bouncing to alternating snaps of his fingers as he bobs his head. Plus, he’s a little off rhythm. “There’s a Tangled marathon on in two minutes!” He has to yell over the music now. “That’s better.” I start nodding my head to the beat. “It’s Christmas! You just got your Hogwarts acceptance letter, a copy ofAction Comics #1, and a brand new car that runs on water!” “Hell yeah!” I scream and let go.
Leah Rae Miller (The Summer I Became a Nerd (Nerd, #1))
The situation got worse when they came back to her apartment after and someone put on music. An advert interrupted during a moment when I was the person nearest the laptop, and so somebody said to me—quite threateningly, I felt—Put something else on. Obviously I forgot every song I have ever heard in my entire life. In one swift tug, like the tablecloth trick where everything is supposed to remain on the table gone wrong, every name of every artist disappeared too. The only keywords I could think of were the ones on a toy keyboard-and-tape-recorder combo I'd been given as a child, and I hadn't known their meaning even then. Bossa nova, for example. I said I couldn't think of anything, any music, except silence, and retreated to the corner of the room, pretending to busy myself by scouring the bookcase there, which held little gatherings of figurines as well as Mizuko's many books.
Olivia Sudjic (Sympathy)
I'd been told that Catholic masses were stable and cold with dull organ music so I was surprised when the choir broke into song. They sang in Shona, with African drums and rattles, ngoma ne bosho. The women;s voices merged with men's bass producing an effect that was confusing but beautiful. At Forward with Faith Ministries we only used guitars, western drums and a keyboard, because Pastor Mavumba preached against using African Traditional instruments. He said that before the missionaries came, our people engaged in devil worship, so the instruments they used were the devil's instruments. We sang in English and he preached in English too, when he was not speaking in tongues. I was a bit confused; maybe the Catholic Church was the devil's church after all, but I couldn't stop my foot from tapping along to the music. [88]
Tendai Huchu (The Hairdresser of Harare)
I love you,” Val began, wondering where in the nine circles of hell that had come from. He sat forward, elbows on his knees, and scrubbed a hand over his face. “I’m sorry; that came out… wrong. Still…” He glanced at her over his shoulder. “It’s the truth.” Ellen’s fingers settled on his nape, massaging in the small, soothing circles Val had come to expect when her hands were on him. “If you love me,” she said after a long, fraught silence, “you’ll tell me the truth.” Val tried to see that response as positive—she hadn’t stomped off, railed at him, or tossed his words back in his face. Yet. But neither had she reciprocated. “My name is Valentine Windham,” he said slowly, “but you’ve asked about my family, and in that regard—and that regard only—I have not been entirely forthcoming.” “Come forth now,” she commanded softly, her hand going still. “My father is the Duke of Moreland. That’s all. I’m a commoner, my title only a courtesy, and I’m not even technically the spare anymore, a situation that should improve further, because my brother Gayle is deeply enamored of his wife.” “Improve?” Ellen’s voice was soft, preoccupied. “I don’t want the title, Ellen.” Val sat up, needing to see her eyes. “I don’t ever want it, not for me, not for my son or grandson. I make pianos, and it’s a good income. I can provide well for you, if you’ll let me.” “As your mistress?” “Bloody, blazing… no!” Val rose and paced across the porch, turning to face her when he could go no farther. “As my wife, as my beloved, dearest wife.” A few heartbeats of silence went by, and with each one, Val felt the ringing of a death knell over his hopes. “I would be your mistress. I care for you, too, but I cannot be your wife.” Val frowned at that. It wasn’t what he’d been expecting. A conditional rejection, that’s what it was. She’d give him time, he supposed, to get over his feelings and move along with his life. “Why not marry me?” he asked, crossing his arms over his chest. She crossed her arms too. “What else haven’t you told me?” “Fair enough.” Val came back to sit beside her and searched his mind. “I play the piano. I don’t just mess about with it for polite entertainment. Playing the piano used to be who I was.” “You were a musician?” Val snorted. “I was a coward, but yes, I was a musician, a virtuoso of the keyboard. Then my hand”—he held up his perfectly unremarkable left hand—“rebelled against all the wear and tear, or came a cropper somehow. I could not play anymore, not without either damaging it beyond all repair or risking a laudanum addiction, maybe both.” “So you came out here?” Ellen guessed. “You took on the monumental task of setting to rights what I had put wrong on this estate and thought that would be… what?” “A way to feel useful or maybe just a way to get tired enough each day that I didn’t miss the music so much, and then…” “Then?” She took his hand in hers, but Val wasn’t reassured. His mistress, indeed. “Then I became enamored of my neighbor. She beguiled me—she’s lovely and dear and patient. She’s a virtuoso of the flower garden. She cared about my hand and about me without once hearing me play the piano, and this intrigued me.” “You intrigued me,” Ellen admitted, pressing the back of his hand to her cheek. “You still do.” “My Ellen loves to make beauty, as do I.” Val turned and used his free hand to trace the line of Ellen’s jaw. “She is as independent as I am and values her privacy, as I do.” “You are merely lonely, Val.
Grace Burrowes (The Virtuoso (Duke's Obsession, #3; Windham, #3))
They’re gone, you can come out now.” Val burst into a thundering version of the “Hallelujah Chorus,” winking at his brother from behind the keyboard. St. Just slumped against the wall of the music room. “If I haven’t told you lately, little brother, I do adore your playing.” “And my dear self, too, of course,” Val said, bringing the volume of his playing down and beginning to improvise on Handel’s theme.
Grace Burrowes (The Soldier (Duke's Obsession, #2; Windham, #2))
At the first session the group piled on an unfortunate wild man from that backwater, the University of Utah, named Alan Kay. Kay had stepped forth in a public session to pitch his vision of a computer you could hold in your hand. He had already coined a name for it: “Dynabook,” a notebook-shaped machine with a display screen and a keyboard you could use to create, edit, and store a very personal sort of literature, music, and art. “He was crazy,” Wessler recalled. “People greeted the whole idea with disbelief and gave him a very tough time. He painted this picture of walking around with a computer under your arm, which we all thought was completely ridiculous.
Michael A. Hiltzik (Dealers of Lightning: Xerox PARC and the Dawn of the Computer Age)
The effect, on Alice, was dazzling and demoralizing all at once: reverberating in her sternum, the music made her more desperate than ever to do, invent, create—to channel all her own energies into the making of something beautiful and unique to herself—but it also made her want to love. To submit to the loving of someone so deeply and well that there could be no question as to whether she were squandering her life, for what could be nobler than dedicating it to the happiness and fulfillment of another? At a certain point the pianist was leaning back slightly, hands working opposite ends of the keyboard as though one had to be kept from popping up while the other was held down,
Lisa Halliday (Asymmetry)
It was decaffeinated jazz he sent to WJZ via Western Union lines from the Hotel Pennsylvania. A distant echo of New Orleans, yet it spoke to listeners.” The ’20s style was lively, rich with saxophone and violin and well-sprinkled with novelty tunes. Lopez was instantly identified by his theme, Nola, given a dexterous workout on the Lopez keyboard. Whiteman had Gershwin: his Rhapsody in Blue concert at Aeolian Hall on Feb. 12, 1924, established his reputation. And though Whiteman was slow to find his way into radio, he was a major force in band music of the ’20s. George Olsen was a master of popular music: his 1925 recording Who was a bestseller, followed by such period hits as The Varsity Drag, Because My Baby Don’t Mean Maybe Now, and Doin’ the Raccoon, a testament to the national passion for fur coats.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
TPB AFK: The Pirate Bay Away from Keyboard, directed by Simon Klose
Stephen Witt (How Music Got Free: A Story of Obsession and Invention)
Trevor Horn: Punk was awful. I mean, I didn’t get it at all at first. I understood the liberating aspect of it, but the actual music I detested, although I have to say I thought a couple of the Sex Pistols’ tunes were quite clever, especially ‘Pretty Vacant’: ‘Pretty va-cunt!’ But it didn’t appeal to me much at the time. It wasn’t the route for me, as I was more interested in the techno/dance route. I was also more interested in working with keyboards rather than guitars. Keyboards were new, guitars were old.
Dylan Jones (Sweet Dreams: The Story of the New Romantics)
And if you think about Soft Cell, Depeche or Human League, these were people who didn’t know what they were doing, there was no musicianship involved. There wasn’t any training; it was people’s ideas going straight down onto tape, without having to deal with all the niceties of being a good keyboard player, and it was this new whole new sound of electronic music.
Dylan Jones (Sweet Dreams: The Story of the New Romantics)
A player sitting at the Telharmonium’s master console with its touch-sensitive keyboards could trigger the device’s network of whirling rotors, generating electrical currents that corresponded to the notes being played. The currents were sent through telephone wires to “broadcast” the music to hotels, restaurants, and private homes as a subscription service. The sound quality was limited because amplification and electrically driven dynamic loudspeakers hadn’t been invented yet. The Telharmonium’s music was piped through what were essentially telephone receivers acoustically boosted with large megaphone horns—some as long as six feet—or channeled through carbon arc lamps that could oscillate with the electronic signal.
Albert Glinsky (Switched On: Bob Moog and the Synthesizer Revolution)
IT IS NOT HARD to understand how it came that the first successful attempt to construct a keyboard instrument “col piano e forte” should have occurred in Italy. Though not untouched by the rationalism of seventeenth-century thought, the Italians in general could not, like many North Germans, find full musical satisfaction in the segregation of phrases, voices, or sections into rigid, monotonous dynamic levels. For a hundred years before Cristofori, “expression” had been one of the chief concerns of Italian musicians and their hearers.
Arthur Loesser (Men, Women and Pianos: A Social History (Dover Books On Music: History))
It was the Italians who, late in the sixteenth century, had created the opera, with its preoccupation with solo singing and the surges and droops natural to it. Indeed, opera was practically an Italian proprietary recipe, exported as such over the rest of Europe. The Italians were also interested in making instruments “sing.” The bowed string-instruments were the most likely subjects for that endeavor, and we see that same seventeenth century in Italy witnessing a matchless development in the making of violins of all sizes. Let us recall that Cristofori’s early pianofortes coincided with Stradivari’s “golden period.” It was a near-lying idea, then, for an Italian to wish to build a capacity for “expression” even into a keyboard instrument.
Arthur Loesser (Men, Women and Pianos: A Social History (Dover Books On Music: History))
It was suddenly too much, her hands on the keyboard that she knew Carol played, Carol watching her with her eyes half closed, Carol’s, whole house around her, and the music that made her abandon herself, made her-defenseless. With a gasp, she dropped her hands in her lap.
Patricia Highsmith (The Price of Salt)