Quotes about chord

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

Quotes about chord

“The development of Indian trigonometry, based on sine as against chord of the Greeks, a necessity for astronomical calculations with his own concise notation which expresses the full sine table in just one couplet for easy remembrance. One of the two methods suggested by him for the sine table is based on the property that the second order sine differences were proportional to sines themselves.”

Aryabhata (476–550) Indian mathematician-astronomer

In, P.245.
Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures

“l'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. I could hear it sometimes but I couldn't play it. … I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.”

Charlie Parker (1920–1955) American jazz saxophonist and composer

On his personal stylistic breakthrough, quoted in Hear Me Talkin' to Ya (1955) edited by Nat Hentoff and Nat Shapiro, . p 354

Thinking, Change, Time

“I realized by using the high notes of the chords as a melodic line, and by the right harmonic progression, I could play what I heard inside me. That's when I was born.”

Charlie Parker (1920–1955) American jazz saxophonist and composer

c. 1939 quoted in Masters of Jazz

“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.

Music

“There are millions of chords. There are millions of numbers. And everyone forgets the one that is a zero. But without the zero, numbers are just arithmetic. Without the empty chord, music is just noise.”

Terry Pratchett book Soul Music

Source: Soul Music

Music, Forgetting

“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)

Law, Way, Mathematics, Question

“I recognized my own creative voice filtered through those six strings, but it was also something else entirely. Notes and chords have become my second language and, more often than not, that vocabulary expresses what I feel when language fails me.”

Slash (musician) book Slash

Source: Slash (2007) by Anthony Bozza & Mason Segal,, p. 29

Feeling

“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.”

Alban Berg (1885–1935) Austrian composer

Quoted in Reich, Willi (1971). Schoenberg: A Critical Biography, p. 34. Translated by Leo Black.

Law, Music, Way, Thinking

“If one is to take Lulu's twelve-tone chord as the integral totality of complementary harmony, then Berg's allegorical genius proves itself within a historical perspective which makes the brain reel: just as Lulu in the world of total illusion longs for nothing but her murderer and finally finds him in that sound, so does all harmony of unrequited happiness long for its fatal chord as the cipher of fulfillment — twelve-tone music is not to be separated from dissonance. Fatal: because all dynamics come to a standstill within it without finding release. The law of complementary harmony already implies the end of the musical experience of time, as this was heralded in the dissociation of time according to Expressionistic extremes.”

Theodor W. Adorno (1903–1969) German sociologist, philosopher and musicologist known for his critical theory of society

Philosophy of Modern Music (1973) as translated by Anne G. Mitchell and Wesley V. Blomster

World, Law, Music, Time

“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

Truth, Country

“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.”

Theodor W. Adorno book Minima Moralia

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)

Life, Color, Feeling, Nature

“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

“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

Secret, Music

“I am loath to close. We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union when again touched, as surely they will be, by the better angels of our nature.”

Abraham Lincoln (1809–1865) 16th President of the United States

1860s, First Inaugural Address (1861)

Angels, Nature, Memory, Passion

“Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don’t have the ability yet to speak about it in an objective.”

Keanu Reeves (1964) Canadian actor, director, producer and musician

Life, Making love

“Normally writers do not talk much, because they are saving their conversations for the readers of their book-
those invisible listeners with whom we wish to strike a sympathetic chord.”

Ruskin Bond (1934) British Indian writer

Books

“The wind makes you ache is some place that is deeper than your bones. It may be that it touches something old in the human soul, a chord of race memory that says Migrate or die - migrate or die.”

Stephen King (1947) American author

Soul, Memory

“There's hope left in these dusty chords. There's a song left in our rusty hearts. We are torn and frayed but love remains.”

Frank Herbert (1920–1986) American writer

Love, Hope, Heart

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

Woody Guthrie (1912–1967) American singer-songwriter and folk musician

“This Lullaby is only a few words, a simple run of chords, quiet here in this spare room, but you can hear it, hear it, wherever you may go, even if I let you down, this lullaby plays on…”

Sarah Dessen book This Lullaby

Source: This Lullaby

“It doesn't really matter what chords I play, what words I say or time of day it is, as it's only a Northern Song.”

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

Time

“the search for meaning is really the search for the lost chord. When the lost chord is discovered by humankind, the discord in the world will be healed and the symphony of the universe will come into complete harmony with itself.”

John O'Donohue (1956–2008) Irish writer, priest and philosopher

Source: Anam Cara: A Book of Celtic Wisdom

World, Search, Universe

“See, records have helped me to fall in love, no question. I hear something new, with a chord change that melts my guts, and before I know it I’m looking for someone, and before I know it I’ve
found her.”

Nick Hornby book High Fidelity

Source: High Fidelity

Love, Question, Change, Help

“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.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore

World, Reading, Past, Future

“I always think of each night as a song. Or each moment as a song. But now I'm seeing we don't live in a single song. We move from song to song, from lyric to lyric, from chord to chord. There is no ending here. It's an infinite playlist.”

David Levithan (1972) American author and editor

Source: Nick & Norah's Infinite Playlist

Thinking, Night

“This guy, he just taught me chords and stuff. And after a year, I thought, I can't be bothered having lessons. So I just decided to figure out my own stuff. I never wanted to play all those fast solos. I just thought, I'll be like Pete Townshend of The Who. I'll do what he does and play powerful chords and stuff.”

Daniel Johns (1979) Australian musician

On how he learnt Guitar, Guitar School magazine, "Rock n' Roll high school" February 1996.
Interviews

Guy

“In 1992 by chance I witnessed a drum and bugle corps competition on television and became aware of three-valve bugles. A year later my wife, Donna, and I attended a performance in La Mirada of the previous year's winner. I have experienced fine concert band performances and also good symphonies in my life, but what was not prepared for what I experienced that day. The entire bugle corps was turned away from us playing softly and suddenly they turned toward us and projected a very thick chord. Every hair on my body stood up (and I have a lot of it) and I decided at that moment to buy some of these instruments. In the next year I purchased approximately $14,000 worth of bugles. After having completed an orchestrational family all the way down to the contrabass bugle, I began writing. This album is the result of this particular interest in my sixth decade in music.”

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

Written in 1997, from the liner notes for Jazz Corps (1998)

Life, Family, Music, Way

“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.

Life, Angels, Feeling, Time

“When I was 17, I saw a program on television about African Elephants and how they were endangered at that time. It really struck a chord with me. It awoken something inside of me, a sensitivity, that had been suppressed by my schooling, family and upbringing. … Since then, that sensitivity has always been a part of me, admittedly, it was a part of me that I lost and buried away and suppressed myself in many years of self-denial and self-loathing, but that I am very happy to have regained. … I first went Vegan in 1991 or so. I had been leaning towards that type of lifestyle before I’d ever even heard the word. My own sensitivity and understanding of myself was what initially lead me in that direction. I was a vegetarian between 1987 and 1999 but then I lost my way. In 2013, I found myself outside the walls of a pig slaughterhouse in Louisville, Kentucky. The screams that I heard will haunt me forever. They were distinct, individual voices screaming out in sheer terror and pain. It woke me up.”

Mike Vallely (1970) American skateboarder and singer

"Pro Skater Mike Vallely On Being Vegan" https://www.punkglobe.com/mikevallelyinterview0816.php, interview with Punk Globe (August 2016).

Pain, School, Family, Way

“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

Way

“[another part / version of Whistler's lecture:]
Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful—as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony. To say to the painter, that Nature is to be taken as she is, is to say to the player, that he may sit on the piano. That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong: that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare, and not common at all.”

James McNeill Whistler (1834–1903) American-born, British-based artist

1870 - 1903, his lecture 'Ten O'Clock' (1885)
Source: James McNeill Whistler (1834–1903), Weinberg, H. Barbara, 'Heilbrunn Timeline of Art History'. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/whis/hd_whis.htm (April 2010)

Truth, Beauty, Music, Nature

“They say that, hung in ancient halls,
At midnight from the silent lute
A melancholy music falls
From chords which were by daylight mute.
And so the human heart by night
Is touched by some inspired tone,
Harmonious in the deep delight,
By day it knew not was its own.”

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

Meditation
Heath's book of Beauty, 1833 (1832)

Music, Heart, Night

“Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation…accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'”

George Perle (1915–2009) American composer

Page 42
The Listening Composer

Music

“So let us listen to the light—what music do we hear? For one thing, we can elicit from each chemical element its own, unique chord. You may sometimes have noticed that a bright yellow flash is produced if ordinary table salt is sprinkled on a flame…a first bare hint of the subject of flame spectra… The fact that different elements emit light with different color characteristics is exploited by the makers of fireworks.”

Frank Wilczek (1951) physicist

Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

Music, Color, Light

“One of the pupils of Artur Schnabel told me that he never heard his teacher practice a difficult passage slowly, but he was struck by the way Schnabel would play one chord of a slow movement over and over, measuring and remeasuring the different components of the harmony.”

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

Source: Piano Notes: The World of the Pianist (2002), Ch. 2 Listening to the Sound of the Piano

Way, Teachers

“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

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

Homér The Odyssey (Cowper)

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

“Joni's genius is that she creates chords that are ambiguous, chords that have two or more different roots. …Joni's music is as close to impressionist visual art as anything I've heard. …harmonic complexity born out of her strict insistence that the music not be anchored in a single harmonic interpretation.”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

Art, Music

“Of what she said to me that night—no matter.
The strange thing came next day.
My brain was full of music—something she played me—;
I couldn't remember it all, but phrases of it
Wreathed and wreathed among faint memories,
Seeking for something, trying to tell me something,
Urging to restlessness: verging on grief.
I tried to play the tune, from memory,—
But memory failed: the chords and discords climbed
And found no resolution—only hung there,
And left me morbid... Where, then, had I heard it?...”

Conrad Aiken (1889–1973) American novelist and poet

The House of Dust (1916 - 1917)

Music, Memory, Night

“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

Life, Personality

“He would be vigilant, but he would anticipate nothing, neither disaster nor revelation.
That was not to say he would give up looking to the future. True, he was just a Cuckoo: scared and weary and alone. But so, in the end were most of his tribe: it didn’t mean all was lost. As long as they could still be moved by a minor chord, or brought to a crisis of tears by scenes of lovers reunited; as long as there was room in their cautious hearts for games of chance, and laughter in the face of God, that must surely be enough to save them, at the last.
If not, there was no hope for any living thing.”

Clive Barker book Weaveworld

Part Nine “Into the Gyre”, Chapter v “A Fragile Peace”, Section 3 (p. 440)
Weaveworld (1987), BOOK TWO: THE FUGUE

God, Hope, Game, Lovers

“Consider and act with reference to the true ends of existence. This world is but the vestibule of an immortal life. Every action of our lives touches on some chord that will vibrate in eternity.”

Edwin Hubbell Chapin (1814–1880) American priest

Source: Dictionary of Burning Words of Brilliant Writers, P. 6.

Life, World

“I never saw more perfect loveliness.
It ask'd, it had no aid from dress: her robe
Was white, and simply gather'd in such folds
As suit a statue: neck and arms were bare;
The black hair was unbound, and like a veil
Hung even to her feet; she held a lute,
And, as she paced the ancient gallery, waked
A few wild chords, and murmur'd low sweet words,
But scarcely audible, as if she thought
Rather than spoke:—the night, the solitude,
Fill'd the young Pythoness with poetry.”

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

A History of the Lyre
The Venetian Bracelet (1829)

Solitude, Perfection, Night

“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.

“The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i. e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is…from Wagner”

George Perle (1915–2009) American composer

Die Walkure, Act III
Page 96
The Listening Composer

Music, Question, Change

“Nothing is known for certain, Isarda. All knowledge is illusion—purpose is a meaningless word, a mere sound, a reassuring fragment of melody in a cacophony of clashing chords. All is flux—matter is like these jewels. (She throws a handful of gleaming gems upon the golden surface; they scatter. When the last jewel has ceased to move, she looks up at him.) Sometimes they fall into a rough pattern, usually they do not. So as this moment, a pattern has been formed—you and I stand here speaking. But at any moment that which constitutes our beings may be scattered again.”

Michael Moorcock book Phoenix in Obsidian

Prologue (p. 321)
Phoenix in Obsidian (1970)

Knowledge

“There is in souls a sympathy with sounds;
And as the mind is pitched the ear is pleased
With melting airs or martial, brisk, or grave:
Some chord in unison with what we hear
Is touched within us, and the heart replies.
How soft the music of those village bells
Falling at intervals upon the ear
In cadence sweet!”

William Cowper The Task

Source: The Task (1785), Book VI, Winter Walk at Noon, Line 1.

Music, Soul, Heart

“We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

People, Age, Sadness, Music

“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

Animals

“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

Thinking

“Life-flow of my natal hour, I will not weary of thy power,
Till in the changes of thy sound
A chord's three parts distinct are found.
I will faithful move with thee,
God-ordered, self-fed energy,
Nature in eternity.”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

Life Without and Life Within (1859), Sistrum

Life, God, Faith, Nature

“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.

People, Fear, Nature

“The theory of waves has been much simplified, and somewhat extended, and their motions have been illustrated by experiments… A similar method of reasoning has been applied to the circulation of the blood, to the propagation of sound, either in fluids or in solids, and to the vibrations of musical chords; the general principle of a velocity, corresponding to half the height of a certain modulus, being shown to be applicable to all these cases: and a connexion has been established between the sound to be obtained from a given solid, and its strength in resisting a flexure of any kind; or, in the case of ice and water, between the sound in a solid and the compressibility in a fluid state. The doctrine of sound and of sounding bodies in general has also received some new illustrations, and the theory of music and of musical intervals has been particularly discussed.”

Thomas Young (scientist) (1773–1829) English polymath

Preface
A Course of Lectures on Natural Philosophy and the Mechanical Arts (1807)

Music, Water

“Twas easy following where invention trod
— All eyes can see when light flows out from God.
And thus did Jubal to his race reveal
Music their larger soul, where woe and weal
Filling the resonant chords, the song, the dance,
Moved with a wider-winged utterance.”

George Eliot (1819–1880) English novelist, journalist and translator

The Legend of Jubal (1869)

God, Music, Soul, Light

“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.

“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]

Music, Thinking

“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]

Knowledge, Learning, Time

“Two lovers move in the crowd like a link of music,
We press upon them, we hold them, and let them pass;
A chord of music strikes us and straight we tremble;
We tremble like wind-blown grass.”

Conrad Aiken (1889–1973) American novelist and poet

The House of Dust (1916 - 1917)

Music, Lovers, Grass

“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

Life, God, Peace, Faith

“I had gone to hear the winner of that year's drum and bugle corps competition. That band played a chord that made every hair on my body stand up. I've been in front of great symphony orchestras, and the greatest bands, but I've never had my hair stand up quite like that. That's when I decided to write for the bugles.”

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

As quoted in "Voicing With a Heart" by Ernie Rideout, in Keyboard (August 2000)

“As absurd as it might sound, there's a strange synergy between very bad movies and very good ones. That's because films on either extreme of the quality scale have the ability to burrow deep into the subconscious, with unpredictable and occasionally remarkable results. Great works of art can cause euphoria, touch a deep emotional chord, or, in rare cases, affect fundamental changes in a person's outlook on life. Conversely, viewing unwatchable tripe can be damaging, possibly resulting in psychotic episodes, an appreciation of '70s fashion, or leaping to the defense of Pauly Shore. There's something almost profound about enduring a horrifically inept piece of cinema, and Coyote Ugly, living up to every letter in its name, offers the opportunity for such an experience.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1611 of Coyote Ugly (2000). One-star reviews

Life, Art, Fashion, Change

“[Before]
Just two or three sweet chords, that seemed
An echo of thy tone,—
The cushat's song was on the wind
And mingled with thine own.”

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

The Vow of the Peacock (1835)

“Triune, shaping, restless power,
Life-flow from life's natal hour,
No music chords are in thy sound;
By some thou'rt but a rattle found;
Yet, without thy ceaseless motion,
To ice would turn their dead devotion.”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

Life Without and Life Within (1859), Sistrum

Life, Music, Dead

“Jazz music is a lifestyle. It’s not notes, chords and arpeggios. Today’s improvisation is too based on the knowledge of chords and the way they practice the chords. It’s not a melodic thing anymore like the older days. It was much more important to play shorter and to play more variable, valid stuff. Today, a lot of solos are long and uninteresting and the influence usually comes from John Coltrane’s group. He himself was a master musician, but he put so much emphasis on chord knowledge and technique, and now the kids want to show how fast they can play. This is the same with piano players and most instrumentalists—it’s speed. That’s gonna change again and hopefully the kids who are now 16 and 17 years old have a little more sense and maybe some more stories to tell.”

Joe Zawinul (1932–2007) austrian composer and pianist

Reflecting on the new generation's take on jazz music
Prasad interview (1997)

Music, Way, Knowledge, Sense

“There are some places which, seen for the first time, yet seem to strike a chord of recollection. "I have been here before," we think to ourselves, "and this is one of my true homes." It is no mystery for those philosophers who hold that all which we shall see, with all which we have seen and are seeing, exists already in an eternal now; that all those places are home to us which in the pattern of our life are twisting, in past, present and future, tendrils of remembrance round our heart-strings.”

Edmund Clerihew Bentley book Trent's Own Case

Source: Trent's Own Case (1936), Chapter XV: "Eunice Makes a Clean Breast of It"

Life, Home, Thinking, Time

“This pride of race is a quality which the German, fundamentally, does not possess. The reason for this is that for these last three centuries the country has been torn by internal dissension and religious wars and has been subjected to a variety of foreign influences, to the influence, for example, of Christianity—for Christianity is not a natural religion for the Germans, but a religion that has been imported and which strikes no responsive chord in their hearts and is foreign to the inherent genius of the race.”

Adolf Hitler (1889–1945) Führer and Reich Chancellor of Germany, Leader of the Nazi Party

13 February 1945.
Disputed, The Testament of Adolf Hitler (1945)

War, Religion, Nature, Heart

“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

Personality

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

Andrew Sega (1975) musician from America

Static Line interview, 1998

“The new discovery that I have made in painting is the following. There are chords of colors, let's say a certain red and green, which move, shimmer when you look at them. Now if you're looking at a tree in a landscape, you can either look at the tree, or at the landscape, but not both, because of the stereoscopic effect. Now, when you are painting something three-dimensional, the chromatic sound which shimmers is the three-dimensional effect of colour, and when you paint a landscape, and the green foliage shimmers a little with the blue sky showing through it, that happens because the green is on a different plane from the sky in nature too. Finding the space-shaping energies of colour, instead of contenting ourselves with a dead chiaroascuro, is our finest task.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to artist de:Hans Thuar, 1913, from Lake Thun in Switzerland; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145

Color, Nature, Tree, Painting

“You shouldn't hear the guitar by itself. It should be part of the drums so it sounds like the drummer is playing chords -- like the snare is in A or the hi-hat in D minor. You only notice the guitar when it's not there.”

Freddie Green (1911–1987) American musician

[Denyer, Ralph, The Guitar Handbook, 2002, Alfred A. Knopf, 88, 0-679-74275-1]

Parting

“I caught sight of my reflection;
I caught it in the window.
I saw the darkness in my heart;
I saw the signs of my undoing.
They had been there from the start,
And the darkness still has work to do.
The knotted chord's untying.
They're heated and they're holy.
Oh they're sitting there on high.
So secure with everything they're buying.”

Peter Gabriel (1950) English singer-songwriter, record producer and humanitarian

Blood of Eden
Song lyrics, Us (1992)

Heart

“I'm gonna take a wild guess—I think that was Buddy DeFranco, and possibly the Glenn Miller Orchestra. The band strikes me as an enigma, in that, first of all, some interesting harmonic things are happening as far as the individual voicings are concerned, but yet it's played in an older, tighter fashion. For instance, the bass player, if there are chord changes happening every two beats, plays the root for two beats, then the next root for two beats—that type of sound. The harmony, especially in the opening part where the theme is established, is a lot more modern than that kind of band would normally sound. I think that they're playing that way to keep that Miller identity, with that rhythmic tightness”

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

Reviewing DeFranco's arrangement of Billy Strayhorn's "Chelsea Bridge", from the album Glenn Miller Orchestra Under the Direction of Buddy DeFranco; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#2nmgk677qzm4cnu by Leonard Feather, in Downbeat (October 19, 1967), p. 38

Way, Fashion, Thinking, Change

“I will close by borrowing the words of President Lincoln, who knew more about healthy enmity and preserving our founding values than any other American who has ever lived. His words from his first inaugural were a prayer in our time and are no less in ours. "We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break the bonds of our affection. The mystic chords of memory will swell again when touched, as surely they will be, by the better angels of our nature."”

Jeff Flake (1962) American politician

Thank you, Mr. President. I yield the floor.
Speech in the U.S. Senate (2017)

Angels, Nature, Memory, Passion

“Indeed, there is a moment on the first CD — the electrifying opening to "I Got Loaded," which sounds like an R&B standard but isn’t — when you might find yourself asking whether anyone who has ever been smitten by pop music can fail to have his heart stopped by the chords, the swing, and, once again, Steve Berlin’s wonderfully greasy sax.”

Nick Hornby (1957) English novelist

On the Los Lobos boxed set El Cancionero, from Songbook, published in England as 31 Songs (2003)

Music, Heart

“I dispersed my objects in space and got them to hold together by making them radiate forwards, out of the picture. It's all an easy interplay of chords and rhythms made up of foreground and background colours, of conducting lines, of distances and of contrasts.”

Fernand Léger (1881–1955) French painter

Quote from Exhibition catalogue Fernand Léger, Paris 1972, p. 91
Quotes of Fernand Leger, 1970's

“Here, in the last pages of the "Abegg" Variations, Schumann plays the motto theme A-B-E-G-G (B in German notation is the English Bb) not by sounding the last four notes but by taking them away, one by one, from, the chord of Bb-E-G. This is the first time in history that a melody is signified not by the attack but by the release of a series of notes. The motto, however, ends with a repeated final G. If the motto is played by releasing each successive note, we are faced with a paradox: when the G is released once on the piano, it is no longer there to be released again-the motto is not only unplayable as conceived but unimaginable. Schumann signifies as much by another paradox: he adds accents to the sustained notes.”

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

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

History, Time, Success

“Somehow, suddenly, a musical idea occurs to you; either a whole phrase, or three notes, or a series of chords, something that seems pregnant with possibilities for development. Once you have the kinds of ideas that fascinate you, you're no longer in a position to decide the nature of the animal. It's going to take its essence from the musical ideas that occur to you…. Some musical ideas are too short, they don't seem long enough to carry you through ten minutes of music, so you have to start searching about for other ideas; contrasting ones that seem to fit with the original ones.”

Aaron Copland (1900–1990) American composer, composition teacher, writer, and conductor

Aaron Copland: the Life and Work of an Uncommon Man, ISBN 0805049096.

Music, Search, Idea, Nature

“In the passage quoted here from Monteverdi's madrigal [Cruda amarilli, mm.9-19 and 24-30], one sees a tonality determined by the characteristic of the accord parfait on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait, and above all, by the unprepared seventh chord (with major third) on the dominant.”

François-Joseph Fétis (1784–1871) Belgian composer

Joseph Fétis, (1844). Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art, 2d ed., p. 166. Brussels and Paris.

Quotes

“To work on stage these days with all the advanced tools developed by the electronic industry, you can’t sit down like in the old days and start noodling around on a three-chord basis. Today you need a kind of structure or even a very complex composition for communicating properly between a bunch of people. Nevertheless, there is still room for musical freedom and even improvisation.”

Edgar Froese (1944–2015) German musician and founder of Tangerine Dream

People, Music, Communication, Freedom

“I was in a bookstore, browsing through an old Life magazine, when I saw a picture of what the article called spontaneous human combustion. There were an old guy's legs and shoes, perfectly intact…then, right around his knee area, was just a pile of charred ashes. I was going through some turmoil in my life, both good and bad, and the image struck a chord, so…I wrote a song about it.”

Brandon Boyd (1976) American rock singer, writer and visual artist

On writing the song Pardon Me

Life, Shoe, Guy

“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

Love

“Much of the music is a Merzbild, put together from whatever came to hand. I mean, for example…the Alberti-bass horn solo accompanying the Messenger. I also mean the fusion of such widely divergent types of music as the Folies Bergeres tune at No. 40 ('The girls enter, kicking') and the Wagnerian 7th-chords at Nos. 58 and 74.”

Igor Stravinsky (1882–1971) Russian composer, pianist and conductor

Source: Themes and Conclusions (1982), p. 27: Dialogues.

Music, Girl

“I have sought, but I seek it vainly,
That one lost chord divine,
Which came from the soul of the Organ,
And entered into mine. It may be that Death's bright angel
Will speak in that chord again,
It may be that only in Heaven
I shall hear that grand Amen.”

Adelaide Anne Procter (1825–1864) English poet and songwriter

"A Lost Chord".
Legends and Lyrics: Second Series (1861)

Death, Angels, Soul

“As a professional I practice six or seven hours per day, though it depends on my schedule. That's how it is as a musician. It's only when you reach grade five you take them more serious. Until then I saw it as fun. I used to learn them by play pop tunes on the piano. They have harmonies and broken chords and can be used as building blocks to help you with scales.”

Joanna MacGregor (1959) British musician

The Irish News, 22/01/2005
On Classical Music

Learning, Help, Dependency

“I used to practice scales, but I think mainly in positions. I do runs that go from position to position, basically around chord shapes. I can get around pretty easily from one position to another, and on a good night it sound pretty hot. I'll take chances. Sometimes I'll trip over myself, but most times I'm lucky.”

Albert Lee

[Denyer, Ralph, The Guitar Handbook, 2002, 140, 0-679-74275-1]

Thinking, Chance, Time, Night

“The simplest way that I can understand therapy is that we're born a certain way, we're taught to be something different, and we spend our whole lives trying to unravel it and ultimately align ourselves with who we really are. Life, experiences, traumas -- whatever -- they all add up to make you some altered version of what you are. So there's this battle that goes on between what you are and what you become, and it's been very important for me to unravel what I was taught to be or what I became. and to draw a direct parallel to music -- the closer I get back to being who I really am, the stronger the music gets, because I think what talent I do have is connected to that person, it's not a manipulative process, it's intuitive. You can learn about chords and guitars, but there's a piece of you that makes it individual, and it's been a slow process for me to become whatever it is that I'm supposed to be.”

Billy Corgan (1967) American musician, songwriter, producer, and author

Smashing Pumpkins (1996)

Life, Music, Way, Understanding

“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

Home, Suicide, Success

“His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this--or more accurately, because of this--his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz--at least they have never appeared in so pure and direct a form.”

Ornette Coleman (1930–2015) American jazz musician

Gunther Schuller, quoted in [All American Music: Composition in the Late Twentieth Century, 1983, Rockwell, John, New York, Alfred A. Knopf, ISBN 0394511638].
About

World, Music, Color, Way

“It's just rock and roll. A lot of times we get criticized for it. A lot of music papers come out with: 'When are they going to stop playing these three chords?' If you believe you shouldn't play just three chords it's pretty silly on their part. To us, the simpler a song is, the better, 'cause it's more in line with what the person on the street is.”

Angus Young (1955) Scottish Australian guitarist

Interview with the Atlanta Gazette in May 1979

Music, Time, Parting, Personality

“[A] man who contradicts himself may have succeeded in exercising his vocal chords. But from the point of view of imparting information, of communicating facts (or falsehoods) it is as if he had never opened his mouth. He utters words, but does not say anything.”

P. F. Strawson (1919–2006) British philosopher

Source: Introduction to Logical Theory (1952), p. 2.

Exercises, Communication

“Now, I don't want to give you the impression that I'm a great musicologist, but I'm a lot better than what I was described as for a long, long time; you know, people said I only knew three chords when I knew five.”

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

Interview with BBC Radio 1FM (1994)

People, Time

“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)

Love, Life, Men, God

“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

Soul, Heart

“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.”

Isaac D'Israeli (1766–1848) British writer

Quotation.
Curiosities of Literature (1791–1834)

“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

Music, Girl, Idea, Nostalgia