I talk to amateurs, up-and-coming guys, fighters older than me, and we compare notes to teach each other how to leave this game on top from a legacy and financial standpoint.
You should take notes whenever you hear interesting or original language.
I've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.
No one has any respect for someone who can play a million notes per minute but can't put together a decent tune that someone can sing to or feel some sort of emotion from.
I still use felt tip pens for my notes, on a white board that I carry around with me. I am not into the computer technology - you can say that quite safely.
I keep threatening to keep a formal journal, but whenever I start one it instantly becomes an exercise in self-consciousness. Instead of a journal I manage to have dozens of notebooks with bits and pieces of stories, poems, and notes. Almost every thing I do has its beginning in a notebook of some sort, usually written on a bus or train.
The first notes I still play when I start a sound check are classical. Those are my roots.
Men whose sense of taste is destroyed by sickness, sometimes think honey sour. A diseased eye does not see many things which do exist, and notes many things which do not exist. The same thing frequently takes place with regard to the force of words, when the critic is inferior to the writer.
Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.
The sound of colors is so definite that it would be hard to find anyone who would express bright yellow with base notes, or dark lake with the treble.
One of the greatest technicians of all time was a man named W. D. Gann (1878-1955). He had tremendous success predicting market moves much in advance. Legend has it that he occasionally sent notes to 'The Wall Street Journal', which accurately predicted tops and bottoms in grain markets months ahead of time.
Auto-tune is good to keep your notes intact, but it doesn't do much for the feel of your voice.
My writing process is chaos. I usually start with an overarching theme. Then I establish several story threads, but I don't outline. I just start writing and keep notes for what may come. It's an organic process that's usually pretty flexible.
When I read, I take notes and underline things. So reading is a vigorous process for me, but I read in bed. My poor husband is trying to go to sleep, and I'm reaching over him to get the Post-it notes.
Every concert I've finished with the knowledge I've played a fistful of wrong notes.
I read a lot of research notes about the countries I visit, and my mum and dad bought me a Kindle, but I'm still getting to grips with it. I prefer paper books.
My mum sent me to an open audition for 'Notes On A Scandal' so I could see quite how many other girls wanted to do this. And I queued up, and I got the job. That was my first-ever audition, and my second was 'Atonement.'
I've always been a fan of instructional videos. The bass-player ones are insane. The music on them is fascinating. It's not something you hear on CDs or would really ever play in bands. You listen to it and are like, 'What is happening?' It's this blizzard of notes in weird time signatures, and they're trying to teach you that.
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.
People's association with improvisation means one person playing an endless stream of notes over something, and it doesn't have to be.
I had a hole in my voice. I still do. We call it a hole, but it's an area in the voice where it's air. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in the middle area, it was really hard.
Some people like very predictable melodies, and others prefer the less likely notes.
When I'm singing, I connect the dots with notes.
Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true colors of lipsticks and eye shadow.
Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.
A tablet replacing an exercise book is not innovation, it's just a different way to make notes.
I don't take notes. I don't have any notebooks. I keep on trying to do that because it seems like a very writerly thing to do, but my mind doesn't work that way. I tend to get the idea for a novel in a big splash.
When a man leaves you notes saying he loves you, or asks how your day was - and then listens - you feel special.
Sometimes it might seem like I'm using my songs to give other people pointers. But mainly, they're for me, just little notes to myself that I collected, and the wisdom that I've read. I give myself a lot of advice.
Because in classical music cello is not regarded as a popular choice, it's always playing the long, boring notes.
I work a lot; I love to compose, ponder, and take notes when preparing for a role. I cut all the scenes, collate the images, form the character and shape its personality, then I make meticulous notes and transcribe each scene on my notebook.
Comedy is the ultimate truth. Jazz is hitting the notes that that no one else would hit, and comedy is saying words that no one else would say.
From reading over the notes for each session it was apparent that there had been improvement by more or less regular steps from almost complete terror at sight of the rabbit to a completely positive response with no signs of disturbance.
For inspiration, we still demand the rhetorical high notes. Clinton has hit them before, in her speech in Beijing as first lady when she said, 'Women's rights are human rights,' and in her 2008 concession speech, when she talked about the '18 million cracks' in the glass ceiling.
I started drawing when I was about 2, mostly pictures of my mother and my sister. When I got into school, instead of taking the notes that I should have been taking, I was drawing in all of my notebooks. It was an artwork thing for me at first.
Way back in my mid-20s, I started making notes. I would just jot things down: lists of street names, songs, peculiar turns of speech, jokes, whatever.
