43 Rhythm Quotes

It normally happens that if you put two words together, or two syllables together, one of them will attract more weight, more emphasis, than the other. In other words, most so-called spondees can be read as either iambs or trochees.

Music is a safe type of high. It's more the way it was supposed to be. That's where highness came, I guess, from anyway. It's nothing but rhythm and motion.

Speed is not part of the true Way of strategy. Speed implies that things seem fast or slow, according to whether or not they are in rhythm. Whatever the Way, the master of strategy does not appear fast.

Space. The continual becoming: invisible fountain from which all rhythms flow and to which they must pass. Beyond time or infinity.

As I watched the seagulls, I thought: 'That's the road to take; find the absolute rhythm and follow it with absolute trust.'

Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells.

They were regular in being gay, they learned little things that are things in being gay, they learned many little things that are things in being gay, they were gay every day, they were regular, they were gay, they were gay the same length of time every day, they were gay, they were quite regularly gay.

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.

The car was swaying as Dean and I both swayed to the rhythm and the IT of our final excited joy in talking and living to the blank tranced end of all innumerable riotous angelic particulars that had been lurking in our souls all our lives.

As we take, in fact, a general view of the wonderful stream of our consciousness, what strikes us first is this different pace of its parts. Like a bird's life, it seems to be made of an alternation of flights and perchings.

Between the rhythm of the double knives and the chatter of the pressure cooker, I feel like I should be doing a scat up here.. I'll spare you that horrible pain, though.

Two lovers, here at the corner, by the steeple, Two lovers blow together like music blowing: And the crowd dissolves about them like a sea. Recurring waves of sound break vaguely about them, They drift from wall to wall, from tree to tree.

' That night at the 'Eagle's Nest', I remember, he was playing a D-18 Martin acoustic guitar and he was dressed in the latest teen fashion, but the thing I really noticed though, was his guitar playing. Elvis was a fabulous rhythm player. He'd start into 'That's All Right' , with his own guitar, alone, and you didn't want to hear anything else'

'But it is Presley's singing, halfway between a western and a rock 'n' roll style, that has sent teen-agers into a trance; they like his wailing in a popular song like 'Blue Moon' or such western tunes as 'I'll Never Let You Go', but they go crazy over the earthy, lusty mood of such rock 'n' roll numbers as 'Money Honey'; and the reason is simple enough: Presley sings with a beat; and you can be certain that there'll always be music with a beat and that, whether you like it or not, there will always be an Elvis Presley'

Just try and keep up with those feet of his sometime! Try and look graceful while thinking where your right hand should be, and how your head should be held, and which foot you end the next eight bars on, and whether you're near enough to the steps to leap up six of them backward without looking. Not to mention those Astaire rhythms. Did you ever count the different tempos he can think up in three minutes?

Pigeons on the grass alas. Pigeons on the grass alas. Short longer grass short longer longer shorter yellow grass. Pigeons large pigeons on the shorter longer yellow grass alas pigeons on the grass.

The 2004 tour hasn't ended. I still have to finish Latin America and Europe. [Celia Cruz and I] were good friends. Emilio did her first video; we wrote a song for her. I would have loved to have had her there [when recording '90 Millas']. But she was there. I felt her. That's the beauty of a legacy. Celia was economical and tasty in her choices. And in the pocket like you wouldn't believe? [Which means] It's like a rhythm, from son music. To have it it is to be locked in, like a tuned engine. Once you're in the pocket, you're free. That's why, for most of these songs, I sang and I sang until I had the emotion, then . . . one take. {Couldn't you be considered the heiress to Celia Cruz?] you can't give youself a title! That's crazy! If I ever start talking like that, please put me out of my misery. I don't care if I'm 80, with my butt to my ankles, put me down.

[Is '90 Millas' another crossover -- into World Music?] I can see that. The core is African rhythm -- half of the world's music comes from that. The difference between our music and American blues: Cubans may have been slaves, but in Cuba slaves became part of the family. They could buy their freedom. And they are Island people. And Island people are happier. But, you know, in the '80s, when we released 'Conga,' wasn't that World Music? Everywhere we went, people got it. And why? The drums. So maybe all music is World Music, and the only question is: Do you like it?

I had this dance in me for a long time,and I had to put it into La joie de vivre. It was like a rhythm within me that carried me along.

Everything is going to the beat - It's the beat generation, it be-at, it's the beat to keep, it's the beat of the heart, it's being beat and down in the world and like oldtime lowdown and like in ancient civilizations the slave boatmen rowing galleys to a beat and servants spinning pottery to a beat...

Can the ear hear a thirteen-syllable line as consisting of thirteen syllables? I don't think so, but I think that a series of thirteen-syllable lines (supposing that was the length chosen) would, after a while, begin to have a characteristic resemblance. For the most part, though, counting the syllables seems to be something that works, if it works, for the poet. It is a private method of organization.

There's always rhythm going in my mind. ... I'm either singing them - June will tell you, I'm either singing them, or I have got the beat going from one, or I'm writing one.

God, but you're beautiful, aren't you? Feel your warm hand walking around. I won't pull away. My passion always wins. So keep on a-moving in. So keep on a-tuning in. Synchronise rhythm now.

Really skilful people never get out of time, and are always deliberate, and never appear busy. From this example, the principle can be seen.

I put my body through its paces like a war horse; I keep it lean, sturdy, prepared. I harden it and I pity it. I have no other steed. I keep my brain wide awake, lucid, unmerciful. I unleash it to battle relentlessly so that, all light, it may devour the darkness of the flesh. I have no other workshop where I may transform darkness into light. I keep my heart flaming, courageous, restless. I feel in my heart all commotions and all contradictions, the joys and sorrows of life. But I struggle to subdue them to a rhythm superior to that of the mind, harsher than that of my heart - to the ascending rhythm of the Universe.

You don't know what I'm up against. Because it's full of, of, of things that are only correct because they're grammatical, but they're tough on the ear, you see. This is a very wearying one. It's unpleasant to read. Unrewarding. 'Because Findus freeze the cod at sea, and then add a crumb-crisp' Ooh, 'crumb-crisp coating.' Ahh, that's tough, 'crumb-crisp coating.' I think, no, because of the way it's written, you need to break it up, because it's not, it's not as conversationally written.

For nature beats in perfect tune, And rounds with rhyme her every rune, Whether she work in land or sea, Or hide underground her alchemy. Thou canst not wave thy staff in air, Or dip thy paddle in the lake, But it carves the bow of beauty there, And the ripples in rhymes the oar forsake.

He has a remarkable ear for intonation, a great sense of rhythm and what is most important, he has great style - style in my way of thinking is a matter of delivery, phrasing, pace, emphasis, and most of all presence

I've always spent a lot of time on my records with what I think were unique rhythmic approaches ... but no one ever writes about your rhythm playing

There is a definite limit to the length of time a composer can go on writing in one dance rhythm (this limit is obviously reached by Ravel towards the end of La Valse and towards the beginning of Bolero).

My concern is with the rhythms of nature... I work inside out, like nature.

The pounding of the cylinders increased: ta-pocketa-pocketa-pocketa-pocketa-pocketa.

The skin of all of us is responsive to gypsy songs and military marches.

As soon as war is declared it will be impossible to hold the poets back. Rhyme is still the most effective drum.

The most necessary, most difficult and principal thing in music, that is time.