Chords Quotes
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The strangest part of Indian music is its lack of chords: There's no such thing as major or minor, and it's unusual to hear more than two different pitches at the same time.
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Someone was holding up a sign for Loz that said “fast!” at random times, and there was also a weird length to every other line of chords. It just takes you by surprise when you’re listening, always wrong-foots you, I like that.
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“I taught myself how to play the guitar by watching videos on YouTube. Until this day, I don’t know the music notes but I do know all the chords.
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Wherever inspiration comes from, it's like I'll hear a melody and chords, almost a rough structure of the whole thing [song]. I'll just hear it and chase what's in my head. The rest comes from jamming with band, improvising, seeing what comes up as well. I'll come up with it off the top of my head, catch it, sing and hum, and if something is missing, just jam, and that's the [songwriting] process.
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I think the origin of all this clamour for tonality is not so much the need to sense a relationship to the tonic, as a need for familiar chords: let us be frank and say "for the triad"; and I believe I have good reason to say that just so long as a certain kind of music contains enough such triads, it causes no offence, even if in other ways it most violently clashes with the sacred laws of tonality.
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For some reason, the concept of writing with swing chords was intimidating.
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The total person sings not just the vocal chords.
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Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.
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I'd definitely like to see less twerking and more power chords.
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Trios aren't really geared for slide unless you're gonna play chords, or play that simple George Thorogood style. It gets pretty thin when you play single note lines.
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Playing octaves was just a coincidence. And it's still such a challenge, like chord versions, block chords like cats play on piano. There are a lot of things that can be done with it, but each is a field of its own. I used to have headaches every time I played octaves, because it was extra strain, but the minute I'd quit I'd be all right. But now I don't have headaches when I play octaves.
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I don't think my playing style has really changed over the years; it's just gotten better. I can hear the improvement in comparing older records and later records. I'm referring to soloing ability, to having a better sound, to knowing chords better, and getting rhythmically stronger. It also has to do with ideas - learning how to edit your ideas and being better able to follow ideas out to a logical conclusion.
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Sometimes you stumble across a few chords that put you in a reflective place.
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There are only seven chords, and I believe every song has already been written.
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We're not playing your typical guitar tuning, so there is no normal chords for us to get our footing with. We're pretty much making it up as we go as far as the sounds we're creating. Oftentimes, the song will be inspired by just a certain kind of block of sound that somebody creates.
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I just started off on my own by learning the regular chords then the barre chords. Then I'd lean the notes that would go with them.
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Bon Jovi's trick is to use heavy-metal chords and still sound absolutely safe. Rock & roll used to be rebellion disguised as commercialism; now so much of it is commercialism disguised as rebellion.
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All I have is this guitar, these chords and the truth.
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There is not a string attuned to mirth but has its chord of melancholy.
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I'll sing over some chords, searching, what does the music conjure up, where's the melody taking you? I deliberate over the lyrics, I really do. I'll come up with one line in a day, and then it might be a couple of days before I come up with the rhyming line. It's never been easy for me.
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I was pillaging a lot of music that had nothing to do with guitar playing, using a lot of strange tunings and voicings and chord structures that aren't really that natural to the guitar; I ended up developing a harmonic palette that's not particularly natural to the guitar because I was always trying to make my guitar sound like something else.
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I was pretty much into punk rock and that's all I cared about. I was into Green Day and the Ramones. I wanted to get a guitar so I could play punk songs because this kid taught me power chords at summer camp.
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I just scribbled away and eventually a C-major chord was there. I didn't ever decide I was going to be a composer. It was like being tall. It's what I was. It's what I did.
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The lyrics, the strings, the chords, everything comes at the moment like a gift that is put right into your head and that's how I hear it.
