Intonation is important, especially when it is cold.

I love Emmylou Harris's version of my song, 'Sweet Old World.' Her intonation is great.

On matters of intonation and technicalities I am more than a martinet - I am a martinetissimo.

Laughter is the mind's intonation. There are ways of laughing which have the sound of counterfeit coins.

The most difficult problem in conducting is intonation. You must know what is wrong and how to correct it.

Our intonations contain our philosophy of life, what each of us is constantly telling himself about things.

There is no earthly reason why a solo string instrument or voice, having the possibility to play or sing pure intonation, should want, or try, to be tempered.

The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body.

You speak into it and everything is recorded, voice, tone, intonation, everything. You turn a little wheel, and forth it comes, and can be repeated ten thousand times. Only fancy what this suggests.

Of course the most difficult thing on the violin is always intonation. The second one is rhythm. If you play in tune, in time with a good sound that's already high level. Those three are the main things.

I don't sing operatically, and I sing very intimately, but I still do the scales, and I think in terms of intonation and making sure that I'm hitting the notes right on the head... and having it appear quite effortless.

I am of the international upper class, the Swedish petit bourgeoisie of Jewish extraction with poor language skills, a conveyor of a few expressions and faces, with some intonation that combines ancient human experience with timely coquetry.

I just wanted to show people - maybe I'm wrong - that I can still really sing. I can sing better than I ever have before. My intonation is way better, my timing, my phrasing - there's a lot more expression; I feel it's a more lived-in, soulful voice.

A lot of cats in New Orleans, very soulful, very soulful musicians and they assume that they're singers. And they just make that assumption. And so when there's a little intonation problem, people are very forgiving of them because they heard how soulful they play.

I would spend hours absorbing every intonation, every inflection - how the singer would convey a sentiment and how it would sound coming out of their head. All of those things I very carefully watched and absorbed, and so I guess I was studying my whole life, although not in any sort of conventional way.

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