Violin And Piano Quotes

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.

Who needs to be a Phoenix for rebirth? One simply requires themselves and an instrument to clean the slate and start over, perhaps create their own world where everything is better..

Magnus didn’t look at her; he was looking down at the tent, where Clary sat talking with Tessa, where Alec stood side by side with Maia and Bat, laughing, where Isabelle and Simon were dancing to the music Jace was playing on the piano, the haunting sweet notes of Chopin reminding him of another time, and the sound of a violin at Christmas.

Life's like the piano and the violin, it's about how smart you could play the melodies to make a good harmony.

You don't have to be a professional to play music. Close your eyes, take a deep breath.. And let it out. Let the violin dance, the guitar fascinate, the flute sing, the piano composes. Just. Let. It. Go.

On the evenings when my parents held parties, the drawing-room mirrors multiplied to infinity the scintillations of a crystal chandelier. Mama would take her seat at the grand piano to accompany a lady dressed in a cloud of tulle who played the violin and a cousin who performed on a cello. I would crack between my teeth the candied shell of an artificial fruit, and a burst of light would illuminate my palate with a taste of blackcurrant or pineapple: all the colours, all the lights were mine, the gauzy scarves, the diamonds, the laces; I held the whole party in my mouth.

Translator's Note: When the violin repeats what the piano has just played, it cannot make the same sounds and it can only approximate the same chords. It can, however, make recognizably the same "music", the same air. But it can do so only when it is as faithful to the self-logic of the violin as it is to the self-logic of the piano.

Do you know what the essential problem of the piano is?” he asked. He held me so his head was a few inches from my own. His eyes darted back and forth. “It is impossible to play continuously on a piano string like a violin. The problem is to sustain a note.

Music, I regret to say, affects me merely as an arbitrary succession of more or less irritating sounds. Under certain emotional circumstances I can stand the spasms of a rich violin, but the concert piano and all wind instruments bore me in small doses and flay me in larger ones.

Tomas turned the key and switched on the ceiling light. Teraza saw two beds pushed together, one of them flanked by a bedside table and a lamp. Up out of the lampshade, startled by the overhead light, flew a large nocturnal butterfly that began circling the room. The strains of the piano and violin rose up weakly from below.

By the age of eleven it was . . . too late for the piano and the violin.

Por una cabeza todas las locuras su boca que besa borra la tristeza, calma la amargura...

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.

Being a Pilgrim To journey without being changed is to be a nomad. To change without journeying is to be a chameleon. To journey and to be transformed by the journey is to be a pilgrim. We all start out as pilgrims, wanting to journey and hoping to be transformed by the journey. But, just as it is impossible when listening to an orchestra to hear the whole of the symphony for very long before we are drawn to hear only the piano or the violin, in just this way, our attention to life slips and we experience people and places without being affected by their wholeness. And sometimes, feeling isolated and unsure, we change or hide what lives within in order to please or avoid others. The value of this insight is not to use it to judge or berate ourselves, but to help one another see that integrity is an unending process of letting our inner experience and our outer experience complete each other, in spite of our very human lapses. I understand these things so well, because I violate them so often. Yet I, as you, consider myself a pilgrim of the deepest kind, journeying beyond any one creed or tradition, into the compelling, recurring space in which we know the moment and are changed by it. Mysteriously, as elusive as it is, this moment—where the eye is what it sees, where the heart is what it feels—this moment shows us that what is real is sacred.

Shot Dunyun: No bullshit, but I never leave the house without a mix for anything: Falling in love. Witnessing a death. Disappointment. Impatience. Traffic. I carry a mix for any human condition. Anything really good or bad happens to me, and my way not to overreact—like, to distance my emotions—is to locate the exact perfect sound track for that moment. Even the night Rant died, my automatic first thought was: Philip Glass's Violin Concerto II, or Ravel's Piano Concerto in G Major?

Jutta drags herself closer; she watches her brother with outsize eyes. A piano chases the violins. Then woodwinds. The strings sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself. “Werner?” Jutta whispers. He blinks;

I thought you people were supposed to be good at math." "Yes, my people all do math for fun, while simultaneously dry-cleaning our karate outfits and giving each other manicures and pedicures, all in between our numerous piano and violin recitals," I said, slamming his book shut. "Do you own freaking work. Although I guess that's a completely foreign concept to you, isn't it? Since you've been deep-throating a silver spoon your whole life." "That is so hot that you just said that," Camden said, lazily swiggin his Red Bull. "Besides, I'll work one of these days when I have to. I'll either go into real estate like my dad or find some rich old widow who wants...uh...services." "That doesn't sound like work," I said. "Of course it is, if she's old," he answered.

There were pauses in the music for the rushing, calling, halting piano. Everything would stop except the climbing of the soloist; he would reach a height and everything would join him, the violins first and then the horns; and then the deep blue bass and the flute and the bitter trampling drums; beating, beating and mounting together and stopping with a crash like daybreak. When I first heard the Messiah I was alone; my blood bubbled like fire and wine; I cried; like an infant crying for its mother’s milk; or a sinner running to meet Jesus.

In this way he used her as the North Star on a journey where you always want to go south. It was helpful, aligning himself in this way. It gave him something to tune to, like a violin to a piano.

Spent the fortnight gone in the music room, reworking my year’s fragments into a “sextet for overlapping soloists”: piano, clarinet, ’cello, flute, oboe, and violin, each in its own language of key, scale, and color.

My mother told stories - of their life in the war and how she'd played the accordion in the air-raid shelter and it had got rid of the rats. Apparently rats like violins and pianos but they can't stand the accordion . . .

At first he had appreciated only the material quality of the sounds which those instruments secreted. And it had been a source of keen pleasure when, below the narrow ribbon the violin part, delicate, unyielding, substantial and governing the whole, he had suddenly perceived, where it was trying to surge upwards in a flowing tide of sound, the mass of the piano-part, multiform, coherent, level, and breaking everywhere in melody like the deep blue tumult of the sea, silvered and charmed into a minor key by the moonlight. But at a given moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he had tried to collect, to treasure in his memory the phrase or harmony—he knew not which—that had just been played, and had opened and expanded his soul, just as the fragrance of certain roses, wafted upon the moist air of evening, has the power of dilating our nostrils.

So as not to see anything any more, I turned towards the wall, but alas, what was now facing me was that partition which used to serve us as a morning messenger, that partition which, as responsive as a violin in rendering every nuance of a feeling, reported so exactly to my grandmother my fear at once of waking her and, if she were already awake, of not being heard by her and so of her not coming, then immediately, like a second instrument taking up the melody, informing me of her coming and bidding me be calm. I dared not put out my hand to that wall, any more than to a piano on which my grandmother had been playing and which still vibrated from her touch. I knew that I might knock now, even louder, that nothing would wake her any more, that I should hear no response, that my grandmother would never come again. And I asked nothing more of God, if a paradise exists, than to be able, there, to knock on that wall with the three little raps which my grandmother would recognize among a thousand, and to which she would give those answering knocks which meant: "Don't fuss, little mouse, I know you're impatient, but I'm coming," and that he would let me stay with her throughout eternity, which would not be too long for the two of us.

One of my greatest fears is family decline.There’s an old Chinese saying that “prosperity can never last for three generations.” I’ll bet that if someone with empirical skills conducted a longitudinal survey about intergenerational performance, they’d find a remarkably common pattern among Chinese immigrants fortunate enough to have come to the United States as graduate students or skilled workers over the last fifty years. The pattern would go something like this: • The immigrant generation (like my parents) is the hardest-working. Many will have started off in the United States almost penniless, but they will work nonstop until they become successful engineers, scientists, doctors, academics, or businesspeople. As parents, they will be extremely strict and rabidly thrifty. (“Don’t throw out those leftovers! Why are you using so much dishwasher liquid?You don’t need a beauty salon—I can cut your hair even nicer.”) They will invest in real estate. They will not drink much. Everything they do and earn will go toward their children’s education and future. • The next generation (mine), the first to be born in America, will typically be high-achieving. They will usually play the piano and/or violin.They will attend an Ivy League or Top Ten university. They will tend to be professionals—lawyers, doctors, bankers, television anchors—and surpass their parents in income, but that’s partly because they started off with more money and because their parents invested so much in them. They will be less frugal than their parents. They will enjoy cocktails. If they are female, they will often marry a white person. Whether male or female, they will not be as strict with their children as their parents were with them. • The next generation (Sophia and Lulu’s) is the one I spend nights lying awake worrying about. Because of the hard work of their parents and grandparents, this generation will be born into the great comforts of the upper middle class. Even as children they will own many hardcover books (an almost criminal luxury from the point of view of immigrant parents). They will have wealthy friends who get paid for B-pluses.They may or may not attend private schools, but in either case they will expect expensive, brand-name clothes. Finally and most problematically, they will feel that they have individual rights guaranteed by the U.S. Constitution and therefore be much more likely to disobey their parents and ignore career advice. In short, all factors point to this generation

In four hours over four consecutive weeks, I had convinced her I would never be a rider. Riding was the first of many things for which I exhibited no talent. Next came the piano, then the violin, and then anything that involved numbers or foreign languages.

It irks me that I cannot hope with any words of mine to give an idea of the pleasantness of his voice that invested even his most casual utterances with persuasiveness, or of the constant change in his expression, from grave to gently gay, from reflective to playful, that accompanied his thoughts like the ripple of a piano when the violins with a great sweep sing the several themes of a concerto.

The eighties are a sorely underrated decade in terms of musical composition. They don’t get nearly the respect they deserve. I try to use my platform in the world to bring attention to this travesty by singing eighties ballads whenever I get the chance. Like right now, as I sing “What About Me” by Moving Pictures on the karaoke stage. It was their one-hit wonder and a soul-stirring exercise in self-pity. My eyes are closed as I belt out the lyrics and sway behind he microphone. Not in time to the music—I’m so pissed, I’m lucky to still be standing at all. Usually I play the guitar too, but my fine-motor functions fell by the wayside hours ago. I’m a fantastic musician—not that anyone really notices. That talent gets lost in the shadow of the titles, the same way the talented offspring of two accomplished stars get discounted by the weight of their household name. My mother gave me my love of music—she played several instruments. I had tutors, first for the piano, then the violin—but it was the guitar that really stuck with me. The karaoke stage at The Goat used to be my second home and in the last few hours, I’ve given serious consideration to moving in beneath it. If Harry Potter was the Boy Under the Stairs, I could be the Prince Under the Stage. Why the fuck not?

The cream of the Negro musicians then in France, like Cricket Smith on the trumpet, Louis Jones on the violin, Palmer Jones at the piano, Frank Withers on the clarinet, and Buddy Gilmore at the drums, would weave out music that would almost make your heart stand still at dawn in a Paris night club in the rue Pigalle, when most of the guests were gone and you were washing the last pots and pans in a two-by-four kitchen, with the fire in the range dying and the one high window letting the soft dawn in.

He is about to hand the earphone to Jutta when—clear and unblemished, about halfway down the coil—he hears the quick, drastic strikes of a bow dashing across the strings of a violin. He tries to hold the pin perfectly still. A second violin joins the first. Jutta drags herself closer; she watches her brother with outsize eyes. A piano chases the violins. Then woodwinds. The strings sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself.

I was thinking about Leon and our affinity for busyness, when I happened upon a book called In Praise of Slowness, written by Carl Honoré. In that book he describes a New Yorker cartoon that illustrates our dilemma. Two little girls are standing at a school-bus stop, each clutching a personal planner. One says to the other, “Okay, I’ll move ballet back an hour, reschedule gymnastics, and cancel piano. You shift your violin lessons to Thursday and skip soccer practice. That gives us from 3:15 to 3:45 on Wednesday the sixteenth to play.” This, I suppose, is how the madness starts. Pay close attention to the words Honoré uses to describe this fast-life/slow-life dichotomy. “Fast is busy, controlling, aggressive, hurried, analytical, stressed, superficial, impatient, active, quantity-over-quality. Slow is the opposite: calm, careful, receptive, intuitive, unhurried, patient, reflective, quality-over-quantity…. It is seeking to live at what musicians call the tempo giusto—the right speed.”* Which of those lifestyles would you prefer?

She was experiencing the same odd happiness and odd sadness as then. The sadness meant: We are at the last station. The happiness meant: We are together. The sadness was form, the happiness content. Happiness filled the space of sadness. (...) Tomas turned the key and switched on the ceiling light. Tereza saw two beds pushed together, one of them flanked by a beside table and lamp. Up out of the lampshade, startled by the overhead light, flew a large nocturnal butterfly that began circling the room. The strains of the piano and violin rose up weakly from below.

Daniel." He looked up. "El-la.I was wondering if you'd catch me." He offered me a cigarette. I gave him a shame-on-you look;he grinned. "This is your band?" I asked. Visible piercings aside, no one looked like that went by the name Ax. "Nope,but I go to school with the lead's sister. Regular guy got food poisoning at a Christmas party last night.I've played with them before." "Weddings?" It wasn't quite how I'd pictured him performing. "Usually clubs, but the last one was a bar mitzvah. Musicians have to eat, too," he added, a little sharply. "Sorry." I wanted to wave the smoke away, but figured that might be adding insult to inury. "I thought you played the guitar." "Guitar, piano, a little violin, but badly, and I'll have to garrote you ith one of the strings if you tell anyone." That's the thing about Daniel. Obviously-the violin being a case in point-I don't know him very well,but he seems to hold a grudge for even less time than Frankie. "Secret's safe with me." He shrugged, telling me he didn't really care. Then, "Nice dress." "Just when I start liking you a litte.." He made his vampire-boy face. I could see why it usually worked. "You like me,Ella. Wanna do something when this is over?" "Tempting," I said. "No, I mean that. But no,thanks. I'm not at my best these days." "You're good," he said quietly, blowing out a stream of smoke. "You'll be fine." "Yeah." I shivered. It was bitter outside. "I should go in." "You should." The cold didn't seem to be bothering him at all, and he wasn't even wearing a jacket over his white dress shirt. I turned to go. "Oh, I think I figured it out, by the way." "Figured out what?" "The question.The one everyone should ask before getting involved with someone. Not 'Will he-slash-she make me happy?' but 'Does it bring out the best in me,being with him?'" "Him-slash-her," Daniel corrected, clearly amused. Then, "Nope. No way. Wasn't me who posed the question to you, Marino.I would never be so Emo." "Of course not.But it was one smart boy." I waved. "Hug Frankie for me." "Will do. Hey.Any requests for the band?" "'Don't Stop Believin'," I shot back. He rolled his eyes. "I'm curious, in that last song-are the words really 'I cut my chest wide open'?" "Yup.Followed by, "They come and watch us bleed.Is it art like I was hoping now?" Avett Brothers. Too gruesome for you?" "You have no idea," I told him. How much I get it.

She paused, and said, “May I ask you a question?” He said, “Sure.” “Are we having dinner?” “That’s what it said on the menu. Lunch was different, and this sure ain’t breakfast.” “No, I mean having dinner, as opposed to grabbing road food.” “As in candlelight and piano music?” “Not necessarily.” “Violin players and guys selling roses?” “If appropriate.” “Like a date?” She said, “Broadly, I suppose.” He said, “Honest answer?” “Always.” “Suppose we had found Keever yesterday, maybe stepping off the train, or fallen over in a wheat field somewhere, with a sprained ankle, somewhat hungry and thirsty but otherwise OK, then yes, for sure I would have asked you out to dinner, and if you had accepted, then we’d be having that dinner right about now, so I guess this half-qualifies.

You okay, Bobert?” He says pretty much what I expect: “I don’t know how I’m going to pair Ramón. He’ll drown Lisa.” Robert’s pianist, a man named Luther, is pretty wonderful. “Can Luther carry the solos?” “On piano?” I shrug. “Just spitballing here.” He appears to consider it, and then shakes his head. “The songs don’t lend themselves to keys. The strings have a richness, a vibrancy that the piano can’t mimic. It needs to stir something inside you. Luther is amazing, but we need a musician who demands your attention. Who makes you feel.” The idea seems to heat my blood, and I straighten. “Wait. Wait.” Robert looks up, confused. I hold up my hand. “An idea is forming in my brain.” His expression clears in understanding. “No, Buttercup.” “He’s exactly what you’re describing,” I insist. “You’ve never heard him, but trust me—he is.” “He plays guitar. Honey, I know you’re enamored, but—” “It’s not that, I swear. And he’s not just some busker hanging out on the street. He’s gifted, Robert. Listening to him play is like watching Luis onstage. I feel the notes. I know I’m not . . .” I search for words, flushing. Trying to tell Robert how to do his job is dangerous; he may be my uncle, but he’s been a brilliant musician for much longer. “I’m not a trained musician like you are,” I say carefully, “but I feel like classical guitar might work here. It’s gentle, and soft, yes, but has the passion and—the vibrancy you mention? It has that. If we’re changing the sound entirely by bringing in Ramón, why not change it this way, too? Have a guitar sing with Ramón, instead of a violin?” Robert stares at me, speechless. “Just come with me once.” I grow dizzy from the awareness that I might be convincing him. “Once. That’s all it will take. I know it.

Sophie thinks you were offering her a less than honorable proposition before we came to collect her, and modified your proposal only when her station became apparent.” Windham took a casual sip of his drink while Vim’s brain fumbled for a coherent thought. “She thinks what ?” “She thinks you offered to set her up as your mistress and changed your tune, so to speak, when it became apparent you were both titled. I know she is in error in this regard.” Vim cocked his head. “How could you know such a thing?” “Because if you propositioned my sister with such an arrangement, it’s your skull I’d be using that splitting ax on.” “If Sophie thinks this, then she is mistaken.” Windham remained silent, reinforcing Vim’s sense the man was shrewd in the extreme. “You will please disabuse her of her error.” Windham shook his head slowly, right to left, left to right. “It isn’t my error, and it isn’t Sophie’s error. She’s nothing if not bright, and you were probably nothing if not cautious in offering your suit. The situation calls for derring-do, old sport. Bended knee, flowers, tremolo in the strings, that sort of thing.” He gestured as if stroking a bow over a violin, a lyrical, dramatic rendering that ought to have looked foolish but was instead casually beautiful. “Tremolo in the strings?” “To match the trembling of her heart. A fellow learns to listen for these things.” Windham set his mug down with a thump and speared Vim with a look. “I’m off to do battle with the treble register. Wish me luck, because failure on my part will be apparent every Sunday between now and Judgment Day.” “Windham, for God’s sake, you don’t just accuse a man of such a miscalculation and then saunter off to twist piano wires.” Much less make references to failure being eternally apparent. “Rather thought I was twisting your heart strings. Must be losing my touch.” Vim

He was hired at WOR in March 1925 and a few months later was asked to fill in for Bernarr MacFadden, who had a calisthentics program. Gambling’s smooth baritone voice contrasted well with MacFadden’s gravelly, authoritarian approach, and he got the job permanently when MacFadden left the station a few months later. The original show was 90 minutes long, beginning at 6:30 A.M. Colgate Toothpaste became a sponsor soon after Gambling took over, and in 1927 he interspersed some husband-wife chatter. He missed being the first such breakfast show only by the fact that he was not married to the actress who played his opposite. The skits were scripted, thus fictitious. In the late 1920s he was joined by Vincent Sorey’s three-piece band. Later his permanent musicians were Sorey on violin, Michael Rosco (“Rudolph” on the air) on piano, Pietra “Froz” Frosini on accordion, and Louis Biamonte on saxophone and other instruments. The physical fitness craze ended in the mid-1930s; Gambling then concentrated on talk.

Nash could do it all: play the piano, sing, rap, drums, guitar, violin, but to keep money in his pocket and food on the table, he hustled.

Against stereotype, she can’t play a note of piano or violin.

The varied players—objects and events, currently present or recalled from memory—do not pluck the strings of any violins or cellos and do not press the keys of countless pianos, but the metaphor captures the situation. Objects and eventsdo “play,” in the sense that they, as distinct entities within the organism’s mind, can act on certain neural structures of the organism, “affect” their state, and change those other structures for a passing moment. Over the “playing time,” their actions result in a certain kind of music, the music of our thoughts and feelings and of the meanings that emerge from the inner narratives they help construct. The result may be subtle or not so. Sometimes it amounts to an operatic performance. You can attend it passively, or you can intervene, modify the score to a greater or smaller extent, and produce unpredicted results.

The floor and bed were covered in baskets and bags filled with magazines and papers. When my client came home from work, she moved the things on her bed to the floor and when she woke up, she put them back on the bed to make a path to the door so she could go to work. Her lifestyle could not have been called “feminine” by any stretch of the imagination. “What do you mean by a ‘feminine lifestyle’?” I asked. She thought for a long moment before finally responding. “Well, when I come home from work, the floor would be clear of clutter … and my room, as tidy as a hotel suite with nothing obstructing the line of sight. I’d have a pink bedspread and a white antique-style lamp. Before going to bed, I would have a bath, burn aromatherapy oils, and listen to classical piano or violin while doing yoga and drinking herbal tea. I would fall asleep with a feeling of unhurried spaciousness.” Her

11 February Nocturne for violin and piano by Lili Boulanger (1893–1918)

So, to return to a question from a few pages back: Is it possible to make practicing piano – or violin, oboe, saxophone or accordion – more like practicing basketball? Is it possible to enjoy practicing?

He read an email from Music Prodigies of America—the latest edition was about a young genius who played the guitar.  Amazing. Most music prodigies played the piano, violin, or cello. But one who played the guitar? That was almost unheard of and so cool. And he was a California kid too, which made him even more special.

I was somewhat surprised, therefore, to find that my college teachers—famous academics and composers—inhabited an entirely different musical universe. They knew nothing about, and cared little for, the music I had grown up with. Instead, their world revolved around the dissonant, cerebral music of Arnold Schoenberg and his followers. As I quickly learned, in this environment not everything was possible: tonality was considered passé and “unserious”; electric guitars and saxophones were not to be mixed with violins and pianos; and success was judged by criteria I could not immediately fathom. Music, it seemed, was not so much to be composed as constructed—assembled painstakingly, note by note, according to complicated artificial systems. Questions like “does this chord sound good?” or “does this compositional system produce likeable music?” were frowned upon as naive or

Then she started to feel hatred for the person she loved most in the world: her mother. A wonderful wife who worked all day and washed the dishes at night, sacrificing her own life so that her daughter would have a good education, know how to play the piano and the violin, dress like a princess, have the latest sneakers and jeans, while she mended the same old dress she had worn for years.

Be patient and persevere and you will attain your goals.

Always ask yourself the golden question: If I could master one skill today, which skill would make the biggest difference in my playing?

The characteristic sounds of a trumpet, oboe, banjo, piano, or violin are due to the distinct cocktail of harmonic frequencies that each instrument produces. I love the image of an invisible cosmic bartender, expert in creating hundreds of different harmonic cocktails, who can serve up a banjo to this customer, a kettledrum to the next, and an erhu or a trombone to the one after that

1973 was the year when the United Kingdom entered the European Economic Union, the year when Watergate helped us with a name for all future scandals, Carly Simon began the year at number one with ‘You’re So Vain’, John Tavener premiered his Variations on ‘Three Blind Mice’ for orchestra, the year when The Godfather won Best Picture Oscar, when the Bond film was Live and Let Die, when Perry Henzell’s film The Harder They Come, starring Jimmy Cliff, opened, when Sofia Gubaidulina’s Roses for piano and soprano premiered in Moscow, when David Bowie was Aladdin Sane, Lou Reed walked on the wild side and made up a ‘Berlin’, Slade were feeling the noize, Dobie Gray was drifting away, Bruce Springsteen was ‘Blinded by the Light’, Tom Waits was calling ‘Closing Time’, Bob Dylan was ‘Knocking on Heaven’s Door’, Sly and the Family Stone were ‘Fresh’, Queen recorded their first radio session for John Peel, when Marvin Gaye sang ‘What’s Going On’ and Ann Peebles’s ‘I Can’t Stand the Rain’, when Morton Feldman’s Voices and Instruments II for three female voices, flute, two cellos and bass, Alfred Schnittke’s Suite in the Old Style for violin and piano and Iannis Xenakis’s Eridanos for brass and strings premiered, when Ian Carr’s Nucleus released two albums refining their tangy English survey of the current jazz-rock mind of Miles Davis, when Ornette Coleman started recording again after a five-year pause, making a field recording in Morocco with the Master Musicians of Joujouka, when Stevie Wonder reached No. 1 with ‘Superstition’ and ‘You Are the Sunshine of My Life’, when Free, Family and the Byrds played their last show, 10cc played their first, the Everly Brothers split up, Gram Parsons died, and DJ Kool Herc DJed his first block party for his sister’s birthday in the Bronx, New York, where he mixed instrumental sections of two copies of the same record using two turntables.

Figure 2.2 Number of connections over 25 years across brain areas. This process — neural exuberance followed by pruning of connections — makes the human brain highly adaptable to any environment. Is the infant born in an urban or an agricultural society? Is it the year 2012 or 1012? It doesn’t really matter. The brain of a child born in New York City or in Nome, Alaska, is similar at birth. During the next two decades of life, the process of neural exuberance followed by pruning sculpts a brain that can meet the demands, and thrive in its environment. Brain differences at the “tails” of the distribution As with any natural process there is a range of functioning, with most individuals in the middle and a small percentage of individuals being far above and far below the mean. While the general pattern of increasing and decreasing brain connections is seen in all children, important differences are reported in children whose abilities are above or below those of the average population. To investigate children above the normal range, Shaw used Magnetic Resonance Imaging (MRI) to follow brain structure in 307 children over 17 years. Children with average IQs reached a peak of cortical thickness (and therefore number of neural connections) around age 10, and then pruning began and continued to age 18. Children with above-average IQs had a different pattern: a brief pruning period around age 7 followed by increasing connections again to age 13. Then pruning ensued more vigorously and finished around age 18. There were also differences in brain structure. At age 18, those with above-average IQs had higher levels of neural connections in the frontal areas, which are responsible for short-term memory, attention, sense of self, planning, and decision-making — the higher brain functions. At the other end of the spectrum, individuals diagnosed with schizophrenia, compared to normal children, lose 3% more connections each year from age 10 to 18. Symptoms of schizophrenia emerge in the late teens, when the cortical layer becomes too thin to support coherent functioning. A thinner cortical layer as a young adult — about 20% less than the average — could account for the fragmented mental world of people diagnosed with schizophrenia. Who is in control? Neural exuberance — increasing and decreasing connections — is genetically controlled, but the child’s experiences affect which connections are pruned and which remain. Circuits that a child uses are strengthened. So a youngster who learns to play the piano or to speak Italian is setting up brain circuits that support those activities — she will find it easier to learn another instrument or language. ​Warning to parents: This doesn’t mean you should inundate your toddler with Italian, violin, martial arts, and tennis lessons. Young children learn best when following their natural tendencies and curiosity. Children learn through play. Undue stress and pressure inhibits the brain’s natural ability to learn.

I wasn’t the violin out of tune anymore. It was like he suddenly came to the piano and played the A so I could tune my string. It felt so right to be next to him, so comfortable. My rapid-beating heart began to slow, and I let my exhausted body lean closer to him. I laid my head on his shoulder and closed my eyes. He stroked the side of my face until, at last, my mind and body gave up the fight of the last two days and fell into a deep, dreamless sleep.

Transposing your music into different keys can be challenging and may also seem like a waste of time because you have to relearn all the notes, but it can work wonders. Practicing transposing your music into different keys will help you hear the relationship between notes so that no matter the key or your instrument’s tendencies, you know the distance between the intervals. You will be able to play the correct intervals in any key, in addition to improving transposing skills.

a-note approach: This approach is exactly as the name suggests. Start with only one note. Play this one note in time and repeat it until you are comfortable with it. Then, add a note. Play only these two notes. Repeat them over and over. When you are comfortable and it becomes easier to play, add a note. Repeat. You could learn an entire piece using only this method and never even have to do slow practice!

Turn on the metronome against your recording and see how well you play in time.

Varied rhythms are useful for fast runs and passages. Diversifying the rhythms will help you keep your practicing engaged and focused while also enabling you to play evenly. There are many ways to vary rhythms. You can play dotted rhythms such as in Figure 1. You can also experiment playing the run in groups of three notes such as in Figure 2. For more diversification, play the run in groups of four notes, five notes, as well as in triplets as shown in Figure 3. Come up with new ways of varying the rhythms for your fast passages. Note that when you play a varied rhythm, you should also play the opposite varied rhythm immediately after. See A vs. B in the figures below.

Chunk your music to simplify it. Break it down by phrases and sub-phrases. Do whatever you need to do to keep it simple! Don’t waste your time playing passages you already know well and can play. Focus on the practicing what you can’t play. That is where improvement lies.

The most effective way I have learned to internalize rhythm and pulse is to halve the length of the beats per minute on the metronome. For example, if the piece of music is played at 60 bmp, then I will set the metronome to 30 bmp. This way I have to play two beats of music within one click of the metronome. This forces you to feel and know exactly where the two beats sit. Once you are very comfortable with the tips mentioned above, try challenging yourself further by playing with one click per measure. This will help you develop your inner pulse. For example, playing in a 4/4 time signature: 1. Play the passage so that the metronome click is on the downbeat (beat 1). 2. Play the passage so that the metronome click is on the 2nd beat (beat 2). 3. Play the passage so that the metronome click is half-way through the measure (beat 3). 4. Play the passage so that the metronome click is on the upbeat of the measure (beat 4). I know and I have heard many teachers say that you should practice as much with the metronome as without it. In my experience, the closer I got to being confident playing 1 measure in 1 click, the better I played without the metronome. I would strongly recommend playing a lot with the metronome at 1 click per measure and challenging yourself beyond that. Play 1 click for every 2 measures, even for 3 or 4 measures depending on the speed of the piece. This is what will help you play in time without a metronome.

Always remember that your goals are the most important. It is the first step to turning any dream or thought into reality. Without goals, you are inevitably going nowhere. Have goals and make them real by writing them down.

I like listening to music, though. When the lights go down in the theater, I close my eyes, and the guitar, the violin, and the piano music reach out to me, making my skin tingle, like walking really slowly on wet sand in the summer at around five o'clock in the afternoon when nothing bad can happen.

Choice? It has not been my experience that it matters much, Ms. Brooks. Can a violin choose to be a piano? We are what we are.

It’s possible that Brailey and Taylor could have continued playing on other instruments once they moved away from the upright piano at the top of the staircase. We know, for example, that Hume had two violins with him and that Brailey was a multi-instrumentalist. The fact that the musicians played for the passengers as the lifeboats were lowered can’t seriously be questioned. There were a handful of survivors who claimed not to have heard them, but the evidence for the music is far too substantial to ignore.

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.

The whole problem is further complicated by the fact that there were two distinct musical units on the Titanic, not just a single eight-piece orchestra, as is generally assumed. First, there was a quintet led by violinist Wallace Hartley and used for routine ship’s business—tea-time and after-dinner concerts, Sunday service and the like. There was no brass or drums. Vernon and Irene Castle had introduced the foxtrot, but it hadn’t reached the White Star Line yet. In addition to this basic orchestra, the Titanic had something very special: a trio of violin, cello, and piano that played exclusively in the Reception Room outside the À la Carte Restaurant and Café Parisien. This was all part of White Star’s effort to plant a little corner of Paris in the heart of a great British liner, and appropriately the trio included a French cellist and a Belgian violinist to add to the Continental flavoring. These two orchestras had completely separate musical libraries. They had their own arrangements, and they did not normally mix. It is likely (but not certain) that on the night of the collision they played together for the first time. Hence whatever they played had to be relatively simple and easy to handle without sheet music— the current hits and old numbers that the men knew by heart.

subdivisions on the metronome to the smallest note value that is in the passage you are working on.

Hold-a-note approach: For this approach, play the passage at performance speed and when you arrive at a note that is challenging, hold it for four beats or more (as if it were a long tone). This stabilizes the pitch and tone with which you have difficulty executing. If applicable, finish the rest of the phrase afterwards. Make sure you play past the note and through the passage to keep the direction and phrase of the music. Repeat this multiple times. Hold different notes if necessary.

The year before, at an evening party, he had heard a piece of music played on the piano and violin. At first he had appreciated only the material quality of the sounds which those instruments secreted. And it had been a source of keen pleasure when, below the delicate line of the violin-part, slender but robust, compact and commanding, he had suddenly become aware of the mass of the piano-part beginning to surge upward in plashing waves of sound, multiform but indivisible, smooth yet restless, like the deep blue tumult of the sea, silvered and charmed into a minor key by the moonlight. But then at a certain moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he had tried to grasp the phrase or harmony—he did not know which—that had just been played and that had opened and expanded his soul, as the fragrance of certain roses, wafted upon the moist air of evening, has the power of dilating one's nostrils. Perhaps it was owing to his own ignorance of music that he had received so confused an impression, one that are nonetheless the only purely musical impressions, limited in their extent, entirely original, and irreducible to any other kind. An impression of this order, vanishing in an instant, is, so to speak, an impression sine materia. Doubtless the notes which we hear at such moments tend to spread out before our eyes over surfaces of varying dimensions, to trace arabesques, to give us the sensation of breadth or tenuity, stability or caprice. But the notes themselves have vanished before these sensations have developed sufficiently to escape submersion under those which the succeeding or even simultaneous notes have already begun to awaken in us. And this impression would continue to envelop in its liquidity, its ceaseless overlapping, the motifs which from time to time emerge, barely discernible, to plunge again and disappear and drown, recognised only by the particular kind of pleasure which they instill, impossible to describe, to recollect, to name, ineffable—did not our memory, like a labourer who toils at the laying down of firm foundations beneath the tumult of the waves, by fashioning for us facsimiles of those fugitive phrases, did not enable us to compare and to contrast them with those that follow. And so, scarcely had the exquisite sensation which Swann had experienced died away, before his memory had furnished him with an immediate transcript, sketchy, it is true, and provisional, which he had been able to glance at while the piece continued, so that, when the same impression suddenly returned, it was no longer impossible to grasp. He could picture to himself its extent, its symmetrical arrangement, its notation, its expressive value; he had before him something that was no longer pure music, but rather design, architecture, thought, and which allowed the actual music to be recalled. This time he had distinguished quite clearly a phrase which emerged for a few moments above the waves of sound. It had at once suggested to him a world of inexpressible delights, of whose existence, before hearing it, he had never dreamed, into which he felt that nothing else could initiate him; and he had been filled with love for it, as with a new and strange desire.

Our family trio played classical music almost exclusively, the works of Haydn, Mozart and Beethoven. By this means my taste was developed from the very first in a very strict direction. I still remember that during the first year of our playing together we came across a work of Mendelssohn’s—I think it was a sonata for violin and piano in F minor. I was so thoroughly impregnated with the classical spirit that I could not bear the piece.

His sonata for piano and violin, he first piece of music he had written in twenty-three years, was finished, he could not do more. He made a clean copy, isnged his name and wrote the date, May, 27, 1989, and the title, The Sun Shines on the People's Square. He put the copy in an envelope to send to Kai. [...] He saw himself walking out of the room, this alleyway, this city, without turning back. The following morning, he put on his uniform and returned to work

Matt’s Creation Room was a wide, colorful space dedicated to music. The walls were splashed with bright orange paint, green sofas, and cushions, which contrasted with the serious, dark upright Yamaha piano in the center of the room. There were other instruments in the room: several guitars, a violin, several drums, a bass guitar. The walls were like a private Hall of Fame covered with posters and even relics of famous singers. One wall was covered with pictures of Matt and his three platinum albums Matt, Superstar, and Moving On. The room was bathed in light entering through the wide windows. It was Matt’s Creation Room and he had obviously decorated the room according to his own tastes. After finishing her scales while waiting for Matt, she posted herself next to the windows to practice her audition song for La Cenerentola that Saturday evening. It was a beautiful, sorrowful song that Cinderella sang in the first scene about a king who looked for true love not in splendor and beauty, but in innocence and goodness.

One of the most overlooked aspects of excellence is how much work it takes. Fame can come easily and overnight, but excellence is almost always accompanied by a crushing workload, pursued with single-minded intensity. Strenuous effort over long periods of time is a repetitive theme in the biographies of the giants, sometimes taking on mythic proportions (Michelangelo painting the ceiling of the Sistine Chapel). Even the most famous supposed exception, Mozart, illustrates the rule. He was one of the lighter spirits among the giants, but his reputation for composing effortlessly was overstated—Mozart himself complained on more than one occasion that it wasn’t as easy as it looked1—and his devotion to his work was as single-minded as Beethoven’s, who struggled with his compositions more visibly. Consider the summer of 1788. Mozart was living in a city that experienced bread riots that summer and in a country that was mobilizing for war. He was financially desperate, forced to pawn his belongings to move to cheaper rooms. He even tried to sell the pawnbroker’s tickets to get more loans. Most devastating of all, his beloved six-month old daughter died in June. And yet in June, July, and August, he completed two piano trios, a piano sonata, a violin sonata, and three symphonies, two of them among his most famous.2 It could not have been done except by someone who, as Mozart himself once put it, is “soaked in music,…immersed in it all day long.”3 Psychologists have put specific dimensions to this aspect of accomplishment. One thread of this literature, inaugurated in the early 1970s by Herbert Simon, argues that expertise in a subject requires a person to assimilate about 50,000 “chunks” of information about the subject over about 10 years of experience—simple expertise, not the mastery that is associated with great accomplishment.4 Once expertise is achieved, it is followed by thousands of hours of practice, study, labor.5 Nor is all of this work productive. What we see of the significant figures’ work is typically shadowed by an immense amount of wasted effort—most successful creators produce clunkers, sometimes far more clunkers than gems.6

Until this night, this awful night, he’d had a little joke about himself. He didn’t know who he was, or where he’d come from, but he knew what he liked. And what he liked was all around him-the flower stands on the corners, the big steel and glass buildings filled with milky evening light, the trees, of course, the grass beneath his feet. And the telephones-it didn’t matter. He liked to figure them out, master them, then crush them into tiny hard multicolored balls which he could then juggle or toss through plate glass windows when nobody was about. He liked piano music, the motion pictures, and the poems he found in books. He also liked the automobiles that burnt oil from the earth like lamps. And the great jet planes that flew on the same scientific principles, above the clouds. He always stopped and listened to the people laughing and talking up there when one of the people laughing and talking up there when one of the planes flew overhead. Driving was an extraordinary pleasure. In a silver Mercedes-Benz, he had sped on smooth empty roads from Rome to Florence to Venice in one night. He also liked television-the entire electric process of it, with tiny bits of lights. How soothing it was to have the company of the television, the intimacy with so many artfully painted faces speaking to you in friendship from the glowing screen. The rock and roll, he liked that too. He liked the music. He liked the Vampire Lestat singing “Requiem for the Marquise”. He didn’t pay attention to the words much. It was the melancholy and the dark undertone of drums and cymbals. Made him want to dance. He liked the giant yellow machines that dug into the earth late at night in the big cities with men in uniforms, crawling all over them; he liked the double-decker buses of London, and the people-the clever mortals everywhere-he liked, too, of course. He liked walking in Damascus during the evening, and seeing in sudden flashes of disconnected memory the city of the ancients. Romans, Greeks, Persians, Egyptians in these streets. He liked the libraries where he could find photographs of ancient monuments in big smooth good-smelling books. He took his own photographs of the new cities around him and sometimes he could put images on those pictures which came from his thoughts. For example, in his photograph of Rome there were Roman people in tunics and sandals superimposed upon the modern versions in their thick ungraceful clothes. Oh, yes, much to like around him always-the violin music of Bartók, little girls in snow white dresses coming out of the church at midnight having sung at the Christmas mass. He liked the blood of his victims too, of course. That went without saying. It was no part of his little joke. Death was not funny to him. He stalked his prey in silence; he didn’t want to know his victims. All a mortal had to do was speak to him and he was turned away. Not proper, as he saw it, to talk to these sweet, soft-eyed things and then gobble their blood, break their bones and lick the marrow, squeeze their limbs to dripping pulp. And that was the way he feasted now, so violently. He felt no great need for blood anymore; but he wanted it. And the desire overpowered him in all its ravening purity, quite apart from the thirst. He could have feasted upon three or four mortals a night.

It is next to impossible to learn a complex skill by observation alone. One does not learn to play the violin by watching Heifitz or the piano by observing Rubenstein.

Shading and whistling. The violins screeched and soared. The cellos sucked at the bottom of her stomach. The piano pounded away, unaccompanied by anything but whistling for a-while.

andante of Vinteuil’s sonata for piano and violin.

Less well known, though, is that Ma started on violin, moved to piano, and then to the cello because he didn’t really like the first two instruments. He just went through the sampling period a lot faster than the typical student. Tiger parents are trying to skip that phase entirely. It reminds me of a conversation