Jennifer Hudson Quotes

It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.

It is a real piece of art if you can make a waltz sound like it is the easiest piece of music to play, because it's really not.

A good interpreter can take a piece of bad music and make it sound pretty decent, while a bad interpreter can take good music and make it sound cheap. I can tell that some people have a bad taste, and unlike on the piano, they smear around a lot, that is bad taste.

I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter. The conductor would just rip into me, and it lasted for years.

I play in tune like a cello player and use legitimate vibrato. There are no tricks; it's just all in the hands!

The right notes mean more than 1,000 mph arpeggios.

The value of music is to be able to play one note at the right time in the right way.

It's really hard for me to sing and play bass.

Singing into a microphone and learning to play an instrument - learning to do your craft - that's the most important thing! It's not about what goes on in a computer!

We need improvement in the style of performance. There is no more advantage in a musician who plays and conducts than in one who is only a beater of rhythm.

That's what it is that you rehearse - the making of music, not the playing of notes as abstractions.

See, I'm not a very good musician.

I was different from most young conductors today.

Music has nothing to do with your technical ability.

Good taste - that's all you really need when you're playing an instrument.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

The cello is such a versatile instrument. It can rock like the hardest rock guitar, and it can sing like the human voice. We couldn't do what we do without the classical training. It's a hard instrument to play. There are no frets, and it takes finesse and technique to play.

I don't think so, in so far as I always aspired to play the way I do now but just couldn't get the sounds out always due to technical limitations - now I can pretty much play what I hear in realtime.

The real architecture happens within the works themselves, and that was done by the composer. That's where the real skill is. In putting together a program, you're more a curator, but that's important as well. And then the interpreting of it is where our big job is.

I know I'm not musically talented.

I've never known how to read music in my life.

I've always thought that the act of playing the guitar was the act of trying to make a point of playing the guitar.

Trying to describe something musical is like dancing to architecture, it's really difficult.

I think when you're learning an instrument, you are restricted because much of it is the noise of individual theory and your ability to play the instrument.

I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.