“When people listen to my music, I hope that they will notice that if you take a piece by a composer like Schubert, the major and the minor triad is an extermely important thing not merely as harmony, but in creating melodic lines. Schubert is always walking up and down with arpeggios on C, E, G and so forth. I am not doing anything different really, except using a different system of harmony.”

— Elliott Carter

Carter interviewed by Joël Bons. Album notes for Elliot Carter: homages & dedications, p.17 [CD booklet]. Montaigne Records (2003), MO 782089.

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Elliott Carter6

American composer 1908–2012

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“I don't think the music is all that different, actually. It is produced and presented in a different way. I don't favour one type of music over another. I like music that is melodic, so I like what I am doing now. I haven't abandoned guitars, I am just a little less angry than I was then. I am still proud of Eve's Plum, and I think they could be Vitamin C songs, and some Vitamin C songs could be Eve's Plum songs. I really like this one, it is the best one of all.”

Colleen Fitzpatrick (1972) American singer and actress

Attributed

“I spent a lot of time teaching myself theory and harmony so I could be free to express myself on the instrument. I learned what relatives and substitutes could be played against a root of a chord, like E minor related to G, and so forth. I've also gathered all this knowledge because for ten years all I've done is play jazz, every day.”

George Benson (1943) American musician

[Denyer, Ralph, The Guitar Handbook, 2002, 115, 0-679-74275-1]

“If you and I shall, like the believing shepherds, watch and long for His appearing, one day we, too, shall hear a music grander and sweeter even than the song of angels, when the great Composer shall transpose all the strains of earth from the minor into the major, when the wail of nature shall give way to the glad harmony of the everlasting jubilee.”

Abbott Eliot Kittredge (1834–1912) American minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 555.

“Roger: I think it's different in the way of how they handle stuff. I don't think they were really trying to. They wouldn't want us on it if they didn't like our music, you know what I'm saying? They obviously want us to create what we create and then they do what they're going to do. It's more things like interviews and more videos and photo shoots.. things like that with a major label kind of brings to the table. Which I may or may not be into - but it's a cool chance.”

Roger Manganelli (1973) American musician

“I'm constantly thinking melodies. Now, to add interest to those melodies, obviously you have to know what things can be superimposed over a chord, and I will think of extended arpeggios and the upper estensions. If I'm playing very vertically, I will invariably start to include certaing passing notes which imply certain scales -- like a melodic minor scale against a C minor chord, or diminished scales, something like that. But I'm not thinking of a scale at that specific moment. I'm thinking of the notes as surrounding that chord -- because I know how each of the twelve notes in music sound against a C minor seventh, for instance.”

Lee Ritenour (1952) American jazz guitarist, session musician, and composer

[Denyer, Ralph, The Guitar Handbook, 2002, 114, 0-679-74275-1]

“I use cracks on the sidewalk to walk down the street. I'd always walk on the lines. I never take anything but a calculated risk, and do it because it gives me a sense of identity. Fear is a man's best friend.”

John Cale (1942) Welsh composer, singer-songwriter and record producer

Attributed without citation at John Cale - Quotes, xs4all.nl, 16 November 2012 http://werksman.home.xs4all.nl/cale/quotes/index.html,

“I figured out that my passion is not really for music. My passion is actually for people. So the exploration into different musics of different times has to do with trying to figure out who these people are, what this music represents and what context do we want to give it and what does it mean to us right now.”

Yo-Yo Ma (1955) American cellist

National Public Radio's Weekend Edition Sunday Jan. 14, 2007, NPR, 2009-02-03 http://www.npr.org/templates/story/story.php?storyId=6835078,

“I never thought of that, really, when I was younger, but when I started doing some of the autobiographical picture books, I realized that my family was a great treasure trove. We were pretty ordinary — we weren't really exceptional. I don't think my life growing up was really too much different from the average kid in Meriden, Connecticut at that time. But it's very different from young people today, so I like it that older people my age feel that it's helping them to remember their childhood. Little kids think it's like life on a different planet.”

Tomie dePaola (1934) American children's illustrator and writer

An Interview with Tomie dePaola http://katybeebe.com/wp-content/uploads/2013/11/car-2000-05-12-b-013.pdf (May 2000)

“I suspect our human "thinking processes" often "break down," but you rarely notice anything's wrong, because your systems so quickly switch you to think in different ways, while the systems that failed are repaired or replaced.”

Marvin Minsky book The Emotion Machine

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“Because of the limited keyboard. This is a very strange thing. When I play the piano, I get clear down to the left edge of the piano. Now, unlike Art Tatum, I don't take runs that go up, that always end up on the extreme high "C". But I really do like the low end. Even as an organist, it has bothered me that the keyboards are five octaves and stop at "C". I've always wished that my pedal board went down to "F". My harmonic thinking gets involved clear down to that "F" and to be cut off at the "C". I can't explain it. It's as if somebody were standing right next to you while you were playing and you just kept having the feeling like: "I can't go there; I can't go there."”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

It does something to me. Whereby [sic] having the full keyboard just opens up a world of things to me. <br class="br">On his preference for Yamaha's 88-key PF-15 piano over the then prevalent DX7; radio interview, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT457&dq=%22because+of+the+limited+keyboard%22&hl=en&sa=X&ved=0ahUKEwjOhaCoxMXRAhXB5iYKHcvbBykQ6AEIGjAA#v=onepage&q&f=false (1992, 2006, 2014)

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Elliott Carter6

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