Keyboard Player Quotes

Many fine keyboard players could and did emulate and recreate his parts, but nobody else other than Rick had the ability to create them in the first place.

I quickly lost track of time. I forgot that my avatar was sitting in Halliday’s bedroom and that, in reality, I was sitting in my hideout, huddled near the electric heater, tapping at the empty air in front of me, entering commands on an imaginary keyboard. All of the intervening layers slipped away, and I lost myself in the game within the game. In

I think the way to stop it is to shrug it off. Or take it with your tongue in your cheek. Sure, that's the system. At any rate, it's the system that works for you. It's the automatic control board that keeps you out there where nothing matters, where it's only you and the keyboard and nothing else. Because it's gotta be that way. You gotta stay clear of anything serious.

Getting Started Setting up your Kindle Oasis Kindle controls Status indicators Keyboard Network connectivity VoiceView screen reader Special Offers and Sponsored Screensavers Chapter 2 Navigating Your Kindle The Kindle Home screen Toolbars Tap zones Chapter 3 Acquiring & Managing Kindle Content Shop for Kindle and Audible content anytime, anywhere Recommended content Managing your Kindle Library Device and Cloud storage Removing items from your Kindle Chapter 4 Reading Kindle Documents Understanding Kindle display technology Customizing your text display Comic books Children's books Images Tables Interacting with your content Navigating a book Chapter 5 Playing Audible Books Pairing a Bluetooth audio device Using the Audible Player Audiobook bookmarks Downloading Audible books Audiobook Library Management Chapter 6 Features X-Ray Word Wise Vocabulary Builder Amazon FreeTime (Amazon Fire for Kids in the UK) Managing your Amazon Household Goodreads on Kindle Time to Read Chapter 7 Getting More from Your Kindle Oasis Carrying and reading personal documents Reading Kindle content on other devices Sharing Using your Kindle with your computer Using the Experimental Web Browser Chapter 8 Settings Customizing your Kindle settings The Settings contextual menu Chapter 9 Finding Additional Assistance Appendix A Product Information

#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.

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.

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.

Mental force affects the brain by altering the wave functions of the atoms that make up the brain’s ions, neurotransmitters, and synaptic vesicles. By a direct action of mind, the brain is thus made to behave differently. It is in this sense of a direct action of mind on brain that I use the term mental force. It remains, for now, a hypothetical entity. But explaining phenomena like the self-directed neuroplasticity observed in OCD patients undergoing Four Steps therapy, like the brain changes detected in those of Alvaro Pascual-Leone’s piano players who only imagined practicing a keyboard exercise, like the brain changes in Michael Merzenich’s monkeys who paid attention to incoming sensory stimuli—explaining all of these phenomena and more requires a natural force of this kind. Mental force is the causal bridge between conscious effort and the observed metabolic and neuronal changes.

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.

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.

As Rick Wakeman put it in the Moog DVD: “As a keyboard player, you could go on and give the guitarist a run for their money.

AFK Away From Keyboard, it means a player that has joined the battle, but that has abandoned control of its tank at some point in time after the beginning, either voluntarily or by accident, like a computer crash or lost connection, or because of outside interference - like mummy telling him off. 

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.

Saw in her mind’s eye that delicious moment when Stan—a version of the piano player himself, when you thought about it—smiled the sweet self-satisfied smile that always preceded the double take, the panic, the inevitable disaster. (Down, down, down the keyboard he went and down, down, down in her mind’s eye went the poor piano.) Images that stayed with her even as John woke and

Fat fingers dance across the clattering keyboard Grinding out meaning Ennobling the actions Of real men doing something tangible for a living And not sitting on their asses “analyzing” shit. Pathetic. —Baseball Players’ Poems about Sportswriters and Sportswriting

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. But....you 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

Forecasting the future requires a certain amount of mental ambidexterity. Just as a piano player must control her left and right hands as she glides around the keyboard playing Monk, you need to learn how to think in two ways at once—both monitoring what’s happening in the present and thinking through how the present relates to the future.

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.

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.

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!