Quotes about chord

A collection of quotes on the topic of chord, music, play, likeness.

Quotes about chord

Aryabhata photo
Charlie Parker photo
Charlie Parker photo
Sid Vicious photo

“You just pick a chord, go twang, and you've got music.”

Sid Vicious (1957–1979) English bassist and vocalist

Reported in Jon Savage, England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond (2001), p. 220.

Terry Pratchett photo
Auguste Comte photo

“Notwithstanding the eminent difficulties of the mathematical theory of sonorous vibrations, we owe to it such progress as has yet been made in acoustics. The formation of the differential equations proper to the phenomena is, independent of their integration, a very important acquisition, on account of the approximations which mathematical analysis allows between questions, otherwise heterogeneous, which lead to similar equations. This fundamental property, whose value we have so often to recognize, applies remarkably in the present case; and especially since the creation of mathematical thermology, whose principal equations are strongly analogous to those of vibratory motion. This means of investigation is all the more valuable on account of the difficulties in the way of direct inquiry into the phenomena of sound. We may decide the necessity of the atmospheric medium for the transmission of sonorous vibrations; and we may conceive of the possibility of determining by experiment the duration of the propagation, in the air, and then through other media; but the general laws of the vibrations of sonorous bodies escape immediate observation. We should know almost nothing of the whole case if the mathematical theory did not come in to connect the different phenomena of sound, enabling us to substitute for direct observation an equivalent examination of more favorable cases subjected to the same law. For instance, when the analysis of the problem of vibrating chords has shown us that, other things being equal, the number of oscillations is hi inverse proportion to the length of the chord, we see that the most rapid vibrations of a very short chord may be counted, since the law enables us to direct our attention to very slow vibrations. The same substitution is at our command in many cases in which it is less direct.”

Auguste Comte (1798–1857) French philosopher

Bk. 3, chap. 4; as cited in: Moritz (1914, 240)
System of positive polity (1852)

Slash (musician) photo
Alban Berg photo
Theodor W. Adorno photo
Willie Nelson photo

“Three chords and the truth — that’s what a country song is.”

Willie Nelson (1933) American country music singer-songwriter.

Nelson clarified in his autobiography, It's A Long Story: My Life that it was an original phrase from songwriter Harlan Howard. An example of Nelson quoting the phrase: [A lot of country music is sad. I think most art comes out of poverty and hard times. It applies to music. Three chords and the truth — that’s what a country song is. There is a lot of heartache in the world., http://theboot.com/willie-nelson-parade-interview/?trackback=tsmclip, Willie Nelson Opens Up About Music, Marriages and Marijuana, Horne, Marianne, June 28, 2010, The Boot, Taste of Country, January 21, 2014]
Attributed

Theodor W. Adorno photo

“The center of intellectual self-discipline as such is in the process of decomposition. The taboos that constitute a man’s intellectual stature, often sedimented experiences and unarticulated insights, always operate against inner impulses that he has learned to condemn, but which are so strong that only an unquestioning and unquestioned authority can hold them in check. What is true of the instinctual life is no less of the intellectual: the painter or composer forbidding himself as trite this or that combination of colors or chords, the writer wincing at banal or pedantic verbal configurations, reacts so violently because layers of himself are drawn to them. Repudiation of the present cultural morass presupposes sufficient involvement in it to feel it itching in one’s finger-tips, so to speak, but at the same time the strength, drawn from this involvement, to dismiss it. This strength, though manifesting itself as individual resistance, is by no means of a merely individual nature. In the intellectual conscience possessed of it, the social movement is no less present than the moral super-ego. Such conscience grows out of a conception of the good society and its citizens. If this conception dims—and who could still trust blindly in it—the downward urge of the intellect loses its inhibitions and all the detritus dumped in the individual by barbarous culture—half-learning, slackness, heavy familiarity, coarseness—comes to light. Usually it is rationalized as humanity, desire to be understood by others, worldly-wise responsibility. But the sacrifice of intellectual self-discipline comes much too easily to him who makes it for us to believe his assurance that it is one.”

Das Zentrum der geistigen Selbstdisziplin als solcher ist in Zersetzung begriffen. Die Tabus, die den geistigen Rang eines Menschen ausmachen, oftmals sedimentierte Erfahrungen und unartikulierte Erkenntnisse, richten sich stets gegen eigene Regungen, die er verdammen lernte, die aber so stark sind, daß nur eine fraglose und unbefragte Instanz ihnen Einhalt gebieten kann. Was fürs Triebleben gilt, gilt fürs geistige nicht minder: der Maler und Komponist, der diese und jene Farbenzusammenstellung oder Akkordverbindung als kitschig sich untersagt, der Schriftsteller, dem sprachliche Konfigurationen als banal oder pedantisch auf die Nerven gehen, reagiert so heftig gegen sie, weil in ihm selber Schichten sind, die es dorthin lockt. Die Absage ans herrschende Unwesen der Kultur setzt voraus, daß man an diesem selber genug teilhat, um es gleichsam in den eigenen Fingern zucken zu fühlen, daß man aber zugleich aus dieser Teilhabe Kräfte zog, sie zu kündigen. Diese Kräfte, die als solche des individuellen Widerstands in Erscheinung treten, sind darum doch keineswegs selber bloß individueller Art. Das intellektuelle Gewissen, in dem sie sich zusammenfassen, hat ein gesellschaftliches Moment so gut wie das moralische Überich. Es bildet sich an einer Vorstellung von der richtigen Gesellschaft und deren Bürgern. Läßt einmal diese Vorstellung nach—und wer könnte noch blind vertrauend ihr sich überlassen—, so verliert der intellektuelle Drang nach unten seine Hemmung, und aller Unrat, den die barbarische Kultur im Individuum zurückgelassen hat, Halbbildung, sich Gehenlassen, plumpe Vertraulichkeit, Ungeschliffenheit, kommt zum Vorschein. Meist rationalisiert es sich auch noch als Humanität, als den Willen, anderen Menschen sich verständlich zu machen, als welterfahrene Verantwortlichkeit. Aber das Opfer der intellektuellen Selbstdisziplin fällt dem, der es auf sich nimmt, viel zu leicht, als daß man ihm glauben dürfte, daß es eines ist.
E. Jephcott, trans. (1974), § 8
Minima Moralia (1951)

Benjamin Disraeli photo

“Whenever we would prepare the mind by a forcible appeal, an opening quotation is a symphony preluding on the chords those tones we are about to harmonize.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Isaac D'Israeli, Curiosities of Literature, "Quotation".
Misattributed, Isaac D'Israeli

Leonard Cohen photo

“Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?”

Leonard Cohen (1934–2016) Canadian poet and singer-songwriter

"Hallelujah" - 1984 performance http://www.dailymotion.com/video/x3rwo0_leonard-cohen-hallelujah_music · Montreal Jazz Festival 2008 performance http://www.youtube.com/watch?v=2FpwjQLZTTs
Various Positions (1984)
Context: Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this the fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah

Abraham Lincoln photo
Keanu Reeves photo
Ruskin Bond photo
Stephen King photo
Frank Herbert photo
Woody Guthrie photo

“Anyone who uses more than two chords is just showing off.”

Woody Guthrie (1912–1967) American singer-songwriter and folk musician
Sarah Dessen photo
George Harrison photo
Nick Hornby photo
Haruki Murakami photo
David Levithan photo
Daniel Johns photo
Mason Weems photo

“Feeling that the silver chord of life is loosing, and that his spirit is ready to quit her old companion the body, he extends himself on his bed — closes his eyes for the last time, with his own hands — folds his arms decently on his breast, then breathing out "Father of mercies! take me to thyself," — he fell asleep. Swift on angels' wings the brightening saint ascended; while voices more than human were heard (in Fancy's ear) warbling through the happy regions, and hymning the great procession towards the gates of heaven. His glorious coming was seen far off, and myriads of mighty angels hastened forth, with golden harps, to welcome the honored stranger.”

Mason Weems (1759–1825) fictionalizing biographer of George Washington

Description of Washington's death in Life of Washington (1800); this fanciful account bears no relation to the report of Washington's last words by his personal secretary Tobias Lear, who wrote in his journal (14 December 1799) http://gwpapers.virginia.edu/project/exhibit/mourning/lear.html: About ten o'clk he made several attempts to speak to me before he could effect it, at length he said, — "I am just going. Have me decently buried; and do not let my body be put into the Vault in less than three days after I am dead." I bowed assent, for I could not speak. He then looked at me again and said, "Do you understand me? I replied "Yes." "Tis well" said he.

Mike Vallely photo

“The piano is the only keyboard instrument in which one can grandly vary the effects of the harmonics or overtones of a chord at will by balancing the sonority in different ways.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

James McNeill Whistler photo
Letitia Elizabeth Landon photo
Frank Wilczek photo
Thomas Hood photo

“There's not a string attuned to mirth
But has its chord in melancholy.”

Thomas Hood (1799–1845) British writer

Ode to Melancholy, st. 8.
1820s

Homér photo

“As when in harp and song adept, a bard
Unlab'ring strains the chord to a new lyre.”

XXI. 406–407 (tr. William Cowper).
Odyssey (c. 725 BC)

Daniel Levitin photo
Conrad Aiken photo
Annie Besant photo

“Every person, every race, every nation, has its own particular keynote which it brings to the general chord of life and of humanity. Life is not a monotone but a many-stringed harmony, and to this harmony is contributed a distinctive note by each individual.”

Annie Besant (1847–1933) British socialist, theosophist, women's rights activist, writer and orator

The Birth of New India: A Collection of Writings and Speeches on Indian Affairs http://books.google.co.in/books?id=n7ZMF8Mjh2oC, p. 85

Clive Barker photo
Edwin Hubbell Chapin photo
Letitia Elizabeth Landon photo
Jean-Philippe Rameau photo

“In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f”

Jean-Philippe Rameau (1683–1764) French composer and music theorist of the Baroque era

a F major chord
ibid, p. 14.

Michael Moorcock photo
William Cowper photo
Andrew Sega photo

“Animals can not disapprove, but they can complain and protest, at least until their vocal chords are cut to spare experimenters their protests.”

Annette Baier (1929–2012) New Zealand philosopher

Source: Knowing Our Place in the Animal World, p. 73

George Harrison photo

“If you're listening to this song
You may think the chords are going wrong
But they're not
We just wrote it like that”

George Harrison (1943–2001) British musician, former member of the Beatles

Only a Northern Song (1967)
Lyrics

Margaret Fuller photo
Saeed Akhtar Mirza photo

“I’ve always maintained that it’s easy to make a film on Adolf Hitler. What is difficult is to find out why he struck a chord with the German people; what is the nature of fear, aspiration and identity that he evoked in them that it became Hitler’s Germany.”

Saeed Akhtar Mirza (1943) Indian film director

‘Once again, I feel I have something to say’ Interview, Page 2 http://www.indianexpress.com/news/once-again-i-feel-i-have-something-to-say/471304/2 Indian Express, Jun 07, 2009.

Thomas Young (scientist) photo
George Eliot photo
Johann Heinrich Lambert photo

“If in two ellipses having a common major axis we take two such arcs that their chords are equal, and that also the sums of the radii vectores, drawn respectively from the foci to the extremities of these arcs, are equal to each other, then the sectors formed in each ellipse by the arc and the two radii vectores are to each other as the square roots of the parameters of the ellipses.”

Johann Heinrich Lambert (1728–1777) German mathematician, physicist and astronomer

Sect. 4, Lemma 26, Insigniores orbitae cometarum proprietates (1761) [Notable properties of comets' orbits] translated by Florian Cajori, A History of Mathematics https://books.google.com/books?id=kqQPAAAAYAAJ (1906) p. 259, from the German of Michel Chasles, Geschichte der Geometrie, haupsächlich mit Bezug auf die neuern Methoden https://books.google.com/books?id=NgYHAAAAcAAJ (1839) p. 183.

Lee Ritenour photo
George Benson photo
Conrad Aiken photo
Burkard Schliessmann photo

“The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition.”

Burkard Schliessmann classical pianist

About the Liszt Sonata in B minor

Letitia Elizabeth Landon photo
Margaret Fuller photo
Joe Zawinul photo
Adolf Hitler photo
Marshall McLuhan photo

“Radio comes to us ostensibly with person to person directness that is private and intimate, while in more urgent fact, it is really a subliminal echo chamber of magic power to touch remote and forgotten chords.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Understanding Media (1964), p. 302

Andrew Sega photo

“Well anyone can make a 'weird' [chord] progression by randomly picking triads.”

Andrew Sega (1975) musician from America

Static Line interview, 1998

August Macke photo
Peter Gabriel photo
Jeff Flake photo
Nick Hornby photo
Fernand Léger photo
Aaron Copland photo
François-Joseph Fétis photo
Edgar Froese photo
Brandon Boyd photo
Letitia Elizabeth Landon photo

“Gentlest one, I bow to thee,
Rose-lipp'd queen of poesy,
Sweet Erato, thou whose chords
Waken but for love-touched words!”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(9th August 1823) Poetical Catalogue of Pictures. Stothard’s Erato
23rd August 1823) Change see The Improvisatrice (1824
30th August, 6th and 13th September 1823) The Bayadere see The Improvisatrice (1824
The London Literary Gazette, 1823

Igor Stravinsky photo
Adelaide Anne Procter photo
Joanna MacGregor photo
Billy Corgan photo
Alison Bechdel photo

“Of course I’m delighted that Fun Home has met with such success, but it still strikes me as very unlikely that an odd, cerebral story about a lesbian and her closeted gay suicidal mortician father would have struck a chord with anyone but me.”

Alison Bechdel (1960) American cartoonist, author

on her breakout graphic novel http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/book_reviews/article6914181.ece?token=null&offset=108&page=10
Other

Ornette Coleman photo
Angus Young photo
Leonard Cohen photo
George William Curtis photo

“Pooh! Pooh! Nonsense!' was the reply, 'that's all very well in theory, but it doesn't work so. The returning of slaves amounts to nothing in fact. All that is obsolete. And why make all this row? Can't you hush? We've nothing to do with slavery, we tell you. We can't touch it; and if you persist in this agitation about a mere form and theory, why, you're a set of pestilent fanatics and traitors; and if you get your noisy heads broken, you get just what you deserve'. And they quoted in the faces of the abolitionists the words of Governor Edward Everett, who was not an authority with them, in that fatal inaugural address, 'The patriotism of all classes of citizens must be invited to abstain from a discussion which, by exasperating the master, can have no other effect than to render more oppressive the condition of the slave'. It was as if some kindly Pharisee had said to Christ, 'Don't try to cast out that evil spirit; it may rend the body on departing'. Was it not as if some timid citizen had said, 'Don't say hard things of intemperance lest the dram-shops, to spite us, should give away the rum'? And so the battle raged. The abolitionists dashed against slavery with passionate eloquence like a hail of hissing fire. They lashed its supporters with the scorpion whip of their invective. Ambition, reputation, ortune, ease, life itself they threw upon the consuming altar of their cause. Not since those earlier fanatics of freedom, Patrick Henry and James Otis, has the master chord of human nature, the love of liberty, been struck with such resounding power. It seemed in vain, so slowly their numbers increased, so totally were they outlawed from social and political and ecclesiastical recognition. The merchants of Boston mobbed an editor for virtually repeating the Declaration of Independence. The city of New York looked on and smiled while the present United States marshal insulted a woman as noble and womanly and humane as Florence Nightingale. In other free States men were flying for their lives; were mobbed, seized, imprisoned, maimed, murdered; but still as, in the bitter days of Puritan persecution in Scotland, the undaunted voices of the Covenanters were heard singing the solemn songs of God that echoed and re-echoed from peak to peak of the barren mountains, until the great dumb wilderness was vocal with praise — so in little towns and great cities were heard the uncompromising voices of these men sternly intoning the majestic words of the Golden Rule and the Declaration of Independence, which echoed from solitary heart to heart until the whole land rang with the litany of liberty.”

George William Curtis (1824–1892) American writer

1850s, The Present Aspect of the Slavery Question (1859)

Letitia Elizabeth Landon photo

“Yet, wake again, I pray thee, wake;
My soul yet lives upon the chords —
My heart must breathe its wrongs, or break :
Yet can it find relief in words!”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(20th March 1824) Metrical Tales. Tale IV.— The Troubadour
The London Literary Gazette, 1824

Isaac D'Israeli photo
Francis Picabia photo

“Udnie – I see Again in Memory my Dear Udnie' is no more the portrait of a young girl than 'Edtaonisl' (counterpart of his work 'Udnie'] is the image of a prelate, as we ordinarily conceive of them. They are [both] memories of America, evocations of over there which, subtly set down like musical chords, become representative of an idea, a nostalgia, a fleeting impression.”

Francis Picabia (1879–1953) French painter and writer

'Udnie – I see Again in Memory my Dear Udnie' is the title of a painting, he made in 1913; a memory of the dances performed by Stasia Napierkowska on the ship to New York, to visit the w:Armory Show, where Picabia was presented in 1913 as a 'leading Cubist painter'
1910's
Source: 'Ecrits: vol. 1', 1913 - 1920, Picabia, Belfond, Paris, p. 26

Wallace Stevens photo
Frank Wilczek photo
Alexander Cockburn photo

“No chord in populism reverberates more strongly than the notion that the robust common sense of an unstained outsider is the best medicine for an ailing polity. Caligula doubtless got big cheers from the plebs when he installed his horse as proconsul.”

Alexander Cockburn (1941–2012) Leftist journalist and writer

"Obama's Speech; McCain's Palinomy," http://www.counterpunch.org/cockburn08302008.html CounterPunch (August 30 -31, 2008).

Letitia Elizabeth Landon photo
Emma Lazarus photo

“Then Nature shaped a poet's heart — a lyre
From out whose chords the lightest breeze that blows
Drew trembling music.”

Emma Lazarus (1849–1887) American poet

Chopin http://www.poemhunter.com/poem/chopin/, IV