Chord Quotes (displaying: 1 - 30 of 144 quotes )
Presently, I sense within me the slightest touch. The harmony of one chord lingers in my mind. It fuses, divides, searches--but for what? I open my eyes, position the fingers of my right hand on the buttons, and play out a series of permutations. After a time, I am able, as if by will, to locate the first four notes. They drift down from inward skies, softly, as early morning sunlight. They find me; these are the notes I have been seeking. I hold down the chord key and press the individual notes over and over again. The four notes seem to desire further notes, another chord. I strain to hear the chord that follows. The first four notes lead me to the next five, then to another chord and three more notes. It is a melody. Not a complete song, but the first phrase of one. I play the three chords and twelve notes, also, over and over again. It is a song, I realize, I know.
I’m not so comfortable with politicians. Meeting them always just feels weird and a bit creepy, no matter who it is. For example, I met Tony Blair during The Osbournes period at this thing called the Pride of Britain Awards. He was all right, I suppose; very charming. But I couldn’t get over the fact that our young soldiers were dying out in the Middle East and he could still find the time to hang around with pop stars. Then he came over to me and said, ‘I was in a rock’n’roll band once, y’know?’ I said, ‘So I believe, Prime Minister.’ ‘But I could never work out the chords to “Iron Man”.’ I wanted to say, ‘F**k me, Tony, that’s a staggering piece of information, that is. I mean, you’re at war with Afghanistan, people are getting blown up all over the place, so who honestly gives a f**k that you could never work out the chords to “Iron Man”?’ But they’re all the same, so there’s no point getting wound up about it.
A day of dappled seaborne clouds. The phrase and the day and the scene harmonised in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?
You've got to shake your fists at lightning now, you've got to roar like forest fire. You've got to spread your light like blazes all across the sky. They're going to aim the hoses on you, show 'em you won't expire. Not till you burn up every passion, not even when you die. Come on now, you've got to try, if you're feeling contempt, well then you tell it. If you're tired of the silent night, Jesus, well then you yell it. Condemned to wires and hammers, strike every chord that you feel. That broken trees and elephant ivories conceal
Somewhere along the line Coltrane's soprano sax runs out of steam. Now it's McCoy Tyner's piano solo I hear, the left hand carving out a repetitious rhythm and the right layering on thick, forbidding chords. Like some mythic scene, the music portrays somebody's - a nameless, faceless somebody's - dim past, all the details laid out as clearly as entrails being dragged out of the darkness. Or at least that's how it sounds to me. The patient, repeating music ever so slowly breaks apart the real, rearranging the pieces. It has a hypnotic, menacing smell, just like the forest.
To be a poet is to have a soul so quick to discern, that no shade of quality escapes it, and so quick to feel, that discernment is but a hand playing with finely-ordered variety on the chords of emotion--a soul in which knowledge passes instantaneously into feeling, and feeling flashes back as a new organ of knowledge.
The Marie bit is easy enough to understand, then. The Laura thing takes a bit more explaining, but what it is, I think, is this: sentimental music has this great way of taking you back somewhere at the same time that it takes you forward, so you feel nostalgic and hopeful all at the same time. Marie’s the hopeful, forward part of it – maybe not her, necessarily, but somebody like her, somebody who can turn things around for me. (Exactly that: I always think that women are going to save me, lead me through to a better life, that they can change and redeem me.) And Laura’s the backward part, the last person I loved, and when I hear those sweet, sticky acoustic guitar chords I reinvent our time together, and, before I know it, we’re in the car trying to sing the harmonies on “Sloop John B” and getting it wrong and laughing. We never did that in real life. We never sang in the car, and we certainly never laughed when we got something wrong. This is why I shouldn’t be listening to pop music at the moment.
I would like to visit the factory that makes train horns, and ask them how they are able to arrive at that chord of eternal mournfulness. Is it deliberately sad? Are the horns saying, Be careful, stay away from this train or it will run you over and then people will grieve, and their grief will be as the inconsolable wail of this horn through the night? The out-of-tuneness of the triad is part of its beauty.
Not to know the end of the tale filled me with a sense of emptiness, loss. I hungered for the sharp, frightening, breathtaking, almost painful excitement that the story had given me, and I vowed that as soon as I was old enough I would buy all the novels there were and read them to feed that thirst for violence that was in me, for intrigue, for plotting, for secrecy, for bloody murders. So profoundly responsive a chord had the tale struck in me that the threats of my mother and grandmother had no effect whatsoever. They read my insistence as mere obstinacy, as foolishness, something that would quickly pass; and they had no notion how desperately serious the tale had made me. They could not have known that Ella's whispered story of deception and murder had been the first experience in my life that had elicited from me a total emotional response. No words or punishment could have possibly made me doubt. I had tasted what to me was life, and I would have more of it, somehow, someway.
She was not happy--she never had been. Whence came this insufficiency in life--this instantaneous turning to decay of everything on which she leaned? But if there were somewhere a being strong and beautiful, a valiant nature, full at once of exaltation and refinement, a poet's heart in an angel's form, a lyre with sounding chords ringing out elegiac epithalamia to heaven, why, perchance, should she not find him? Ah! How impossible! Besides, nothing was worth the trouble of seeking it; everything was a lie. Every smile hid a yawn of boredom, every joy a curse, all pleasure satiety, and the sweetest kisses left upon your lips only the unattainable desire for a greater delight.
The mystic chords of memory, stretching from every battle-field, and patriot grave, to every living heart and hearth-stone, 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.--as quoted in THE RIVER OF WINGED DREAMS
Another grave limitation of language is that it cannot, like music or gesture, do more than one thing at once. However the words in a great poet's phrase interinanimate one another and strike the mind as a quasi-instantaneous chord, yet, strictly speaking, each word must be read or heard before the next. That way, language is as unilinear as time. Hence, in narrative, the great difficulty of presenting a very complicated change which happens suddenly. If we do justice to the complexity, the time the reader must take over the passage will destroy the feeling of suddenness. If we get the suddenness we shall not be able to get in the complexity. I am not saying that genius will not find its own way of palliating this defect in the instrument; only that the instrument is in this way defective.