Erik Hassle Quotes

Of course the most difficult thing on the violin is always intonation. The second one is rhythm. If you play in tune, in time with a good sound that's already high level. Those three are the main things.

It's impossible to play a run with as much feeling as a single note. I've never been so much into runs as making single notes cry.

I play more rhythmically than I do a lot of notes.

Music deals with time and timing. It's so magical, but when you get into it, every little sound and every little space between the sounds, it's critical, so critical. And if it's not there, it not only feels wrong, but it ruins things.

My advice to singers is always the same: 'Don't sing the song, sing the lyric.'

The most difficult problem in conducting is intonation. You must know what is wrong and how to correct it.

We have to put expressions in a song when we sing it.

One of the ways to use your depth is to play with speed.

When the public doesn't understand me, it's a battle. So when I choose words, I choose them for their musicality, rhythm, and sense, and I choose the right dialect to express that.

You really have to play with the space in a riff so it can be allowed to breathe.

I love the musicality of English. French sounds flat. In English, you can play with pitch.

Rhythm is sound in motion. It is related to the pulse, the heartbeat, the way we breathe. It rises and falls. It takes us into ourselves; it takes us out of ourselves.

Perhaps of all the most basic elements of music, rhythm most directly affects our central nervous system.

I realized that equipment really had little to do with why I sound like the way I sound.

You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.

I like what I hear other guys doing, but the thing that really attracts me is melodic playing.

Even on the drum level, it's all about stating your theme, going back to certain things that need to be emphasized, not doing fills for the sake of doing fills.

Singing in Hindi is nice but restrictive. Regional languages are more rhythmic, have a different tone and sound, making it more interesting.

The real art of conducting consists in transitions.

I've cried over string arrangements.

A speech idiosyncrasy, in the same way as an air quote, is really justifiable only if it's employed very sparingly and if the user consciously intends to be using it.

If you listen to the way I speak, I have a lot of rhythm, use a lot of accents. When I'm playing my instrument, that concept comes through very clearly.

Conservatory training is so much. There's so much emphasis on playing perfectly in tune and being perfect and doing everything as it's written.

Only the tone-deaf doubt the power of music, though some feel it more strongly than others.

The thing I try to do the most is to play in terms of the song and play in terms of what I'm hearing.