Key Signature Quotes

I thrive on change. That's probably why my chord changes are weird, because chords depict emotions. They'll be going along on one key and I'll drop off a cliff, and suddenly they will go into a whole other key signature. That will drive some people crazy, but that's how my life is.

The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.

I'm not interested in possible complexities. I regard song structure as a graph paper.

Nothing I do is ever void of melody. I know it might seem like I'm doing a lot of rapping, but I'm always utilizing tone and trying to find a key signature. So, I don't look at myself as a rapper.

Suprisingly, one of the most complex pieces of code is the code to determine where a note is in the staff. Finale stores notes as relative scale positions in the current key.

There is still plenty of good music to be written in C major.

If I'm soloing, I usually try to start with a theme, which will often stem from the blues.

Don't be sharp or flat; just be natural.

Beethoven wrote in three flats a lot. That's because he moved twice.

I wrote a song called 'Pretty Little Dead Girl.'

As far as the music goes, I like melody.

I liken movies to playing a piano: Sometimes you're playing the chords and different notes with unresolved cadences and playing all major chords that are all over the place, and you're enjoying yourself with a great, simple melody.

My version of 'Fast Car' is in the same key as the original. To me that is where all the emotion lies.

Producing isn't just making beats on a beat machine. It's bringing together these string players with this flute player and this singer, and telling them to all work in the key of C major... You bring these people together and let them all cook.

I didn't understand key signatures or anything, you know. I'd say silly things at the top of a trumpet part like, 'Note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals.' And some guy said: 'Idiot, just put a flat on the third line and it's a key signature, you know?'

I love to work with producers who are very good with their chord progressions.

Find one note on the instrument that pleases you, and then find another note that also pleases you.

If the chords change a lot over the course of a song, it's better to stay within the same melodic structure.