Quotes of All Topics . Occasions . Authors
I feel at home in an orchestral score.
The orchestral or symphonic music never interested me.
I love huge dramatic songs with ridiculously big orchestral parts.
It was both exciting and frustrating to work with an orchestral group.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
That was my first love growing up - classical orchestral music, especially Impressionism.
I have always studied my parts with the orchestral score and not with the piano reduction.
Playing pentatonic scales over orchestral music is not something I want to do or listen to.
'The Black Parade' is an epic, theatrical, orchestral, big record that is also a concept album.
I had come from an orchestral background, but I didn't really have any orchestral pieces for film.
It's true I've always been attracted to the jazz band in an orchestral way, rather than a band way.
I want to write orchestral music. I want to get a group of singers together and sing William Byrd songs.
Bjork, I'd love to do something with her. I'd love to do some sort of crazy orchestral choir thing with her.
You need a platform upon which to release an orchestral record, otherwise it's just going to be an obscurity.
You know, a lot of people are loath to go to an orchestral concert because they are intimidated by the thought.
I began as a violinist, not a composer. Thus my contact with orchestral musicians, with the source of music, is very important.
In my solo work on my own albums, I have used voice synthesizers and vocoders quite a lot in connection with orchestral instruments.
I love making music, I love composing on my computer, just making crazy ethnic slack orchestral tracks, that's one of my fun things.
Orchestral musicians have a different approach than we do, and when I say 'we,' I mean musicians who don't know what they are doing.
I always dreamed of writing in an orchestral context. But when you finish a piece, you want to hear it. So we played everything with Phish.
Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'
There's been a tendency to think that TV music has to be cheap and fast and for films it has to be nothing but orchestral music, but it's not right.
It's easy for me to write a quasi-virtuosic orchestral score. What is harder is to do that and say, all right, that works, but how else can you do it?
If you're using live bass versus orchestral bass, you've got to make sure that you're not stepping on the toes of the other elements, so you've got to balance it out.
What I love about film music is the variety. On one movie, you might be asked to do a completely electronic score, and then another might ask you to do orchestral only.
In superficial terms, to have an orchestral career is to be better than others, or at least to be chosen over others on that particular occasion; it is a form of survival.
Yes was a band where we could explore some of those ideas, but I knew that if I wanted to get into orchestral music and make a living at it, movies seemed to be a perfect spot.
For some reason, as a kid, I felt outwardly embarrassed to say that I liked rock music. I don't know where that came from. For me, it just wasn't cool - orchestral music was cool.
Most of my recorded material has been in small group configurations. I have not released large orchestral works as recordings because it hasn't been within the realm of possibility.
Purple - I mean, the music and the influence and the subliminal touches range from orchestral conversation to jazz to blues and soul and God knows what. It's a vast range of expressions.
When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.
I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.
Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performance of what I did way back on 'Hellraiser' or 'Jennifer 8' - one of those really orchestral scores.
In Berlin I especially enjoyed the orchestral concerts, and I attended a large number of them. I formed the acquaintance of a good many musicians, several of whom spoke of my playing in high terms.
How You Like That' has Blackpink's own color and it's more powerful than the previous songs. We tried to put in pop, rock and hip-hop aspects in it. Orchestral sound in the beginning is very impressive.
I used to throw on soundtracks, and orchestral stuff would be the only thing I could write to, maybe 'Dead Can Dance' or 'Cocteau Twins' or something. Mostly, it was movies scores that would kind of inspire me.
I remain extraordinarily proud of the Vaughan Williams symphonies I recorded with the LSO, and in the 1980s and '90s, I made an almost complete cycle of orchestral works by Richard Strauss with the Vienna Philharmonic.
It's Messiaen's Turangalila Symphony I'm really looking forward to. Simon Rattle does it perfectly: he understands its primal rhythmic life force, and he and the wonderful Berliners make it a sheer riot of orchestral colour.
We just sang real simple songs in a simple way that got to people. We didn't try to tart them up with orchestral arrangements and all the stuff. We were all blues fanatics. We like R+B and blues and simple, gut-feeling music.
My foundation is acoustic guitar, and it is finger-picking and all of that and sort of an orchestral style of playing. Lead guitar came later, more out of the necessity to do so because of expectations in a particular situation.
I think 'Easy Rider' might have been the first time that someone made a film using found music instead of an orchestral score. No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene.
I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.
I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.
I think my playing has been orchestral throughout the years, and this is another way of expressing that. But I primarily see it as the ultimate accomplishment of a musician. Composing makes me feel like I've finally gotten all the way up the ladder as a musician.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
Somerset desperately needs more high-end music making on its doorstep, so the chance to share great music spanning genres as diverse as orchestral classics, trip hop and jazz, in the utterly relaxed and cathartic environment of a Somerset field, is for me the fulfilment of a long-term dream.
Originally, I wanted a pop career and formed a girl-band 'Genie Queen' managed by Andy McClusky from 'Orchestral Manoeuvres in the Dark', but it didn't work out. My brother John is the talented singer and song-writer with 'The Razz,' while my other brother Sean is a footballer for Telford United.
I was classically trained. But more than just the fact that I play violin, there's a lot of classical elements in the way I write, in the way I hear chords. A lot of times, I think of my songs as a symphony made out of electronics rather than instruments. And I love to do orchestral arrangements of my songs after they're done.
Classical - perhaps I should say 'orchestral' - music is so digital, so cut up, rhythmically, pitchwise and in terms of the roles of the musicians. It's all in little boxes. The reason you get child prodigies in chess, arithmetic, and classical composition is that they are all worlds of discontinuous, parceled-up possibilities.