Instrumental Diversity Quotes

We had a bunch of instruments around the house. Like, I played different instruments, trumpet, bass, drums, piano, all that, but whatever I could get my hands on.

From the first album I'm playing bass on a lot of the tunes, and piano on a lot of 'em, and drums, and guitars. I did that on almost every album.

I don't understand why some people will only accept a guitar if it has an instantly recognizable guitar sound. Finding ways to use the same guitar people have been using for 50 years to make sounds that no one has heard before is truly what gets me off.

Ritchie Blackmore was a huge early influence on me, but after that I had to find my own way ... Johann Sebastian Bach was probably the most influential guy ever on me ... Vivaldi, Beethoven and eventually Paganini ... all of a sudden I was thinking in all these other areas, instead of blues riffs.

An artist creates songs and timeless moments that are reflections that impact culture, and you can do that in any way - with guitars, ukelele, a computer. So, that will never die. It's always the artist behind the computer, not the computer.

I have a piano and a guitar, and I tend to switch back and forth between those two instruments to help me get inspired.

Well, Smoke n' Mirrors has very much a world music flavor and it doesn't park itself in one country. It borrows heavily from the Brazilian angle, which is dear to my heart, and I recorded several albums with that flavor.

Peter was sick of being a pop star, the guitar god, and so he decided to teach himself other instruments. Among the instruments that he picked up was the mandolin.

Any saxophone player will have those influences come through in their music in a very different way. I can listen to the same 10 sax players as someone else for my entire life, and we'll both play completely differently. That's the beauty of being a musician.

Kenny G, I have to be grateful to him for proving that the instrument can be played all different kinds of ways.

I'm writing new songs for a Broadway version of Tarzan, which is very interesting. I think what I learned from the Brother Bear score side of things, I've brought into the new Tarzan songs. Thinking outside just guitar, bass, drums and keyboards.

As a young child, I thought that all pianists played everything. I mean, I thought anything on piano - any piano music, all pianists played it.

My parents pushed me toward trombone because they didn't need another trumpet player.

I didn't want to get attached to one guitar; I didn't want to have an instrument that was irreplaceable.

Technically, a Ghost song could just be piano and vocals, but it could also be full, pounding, heavy-thrashing hard rock.

I can produce any instrument, any sound that I can imagine; it may be percussive to the audience, but in my mind it may be a piano, a melody, or a tuba, or a harp, or a harmonica. My mission is to allow people to hear the dance in its purity and up against any other type of sound or music.

Even though there are some great keyboard players on the album, there are a number of songs with no keyboard on them and the backing is all guitar oriented. This is first time I've ever done this actually.

I found a way to connect with lots of instruments rather than just fixating on one of them. I just loved making noise on anything.

The clarinet is not so dominant in Israeli music as it is in klezmer. I heard klezmer when I was growing up, but for some reason I avoided it. I listened to Louis Armstrong instead. But the sense of melody is the connection between jazz and klezmer.

Horns really make a good band. They always create excitement when it's needed. They give the music a broader spread. It doesn't have to be all guitars and keyboards all the time.

The Third Quartet I made the instruments in pairs - Two different pairs - Violin and viola, and violin and cello. They played very different things from each other all through the whole piece.

In the studio, I'm always throwing people on different instruments.

In order to make my solo shows as interesting as possible, I moved songs onto very different instruments so that I was moving instruments quite a lot during the set.

Some people like the same thing forever, but I don't know. We kind of, like, listen to loads of different stuff, and our attention spans aren't good enough. So there was a bit of frustration when you're, like, having to play the same thing all the time because we play all, like, loads of different instruments.

What I like about 'Game of Thrones' is that there's such a wide range. We have everything from very small, just solo instrument pieces, just the solo violin or solo cello, and then we go all the way to these bigger action moments.