Musical Interlude Quotes

I'm obsessed with great endings and crazy intros and stuff like that. I think we all are from what we've listened to and stuff, so I've always focused on great bridge melodies that just kind of naturally fit, or like a crazy ending at the end of 'Seize the Day,' something like that.

The inside of the tune [the bridge] is the part that makes the outside sound good.

When I wrote 'Paradise,' it was going to be an interlude - like a segue from the song before. Then I just added more to it because everyone loved it.

I sometimes use a girl singer the way Henny Youngman uses his violin - as a bridge between one laugh and the next.

When I got to sit in Big Bird's nest with Big Bird and sing the song, 'Sing. Sing a song. Sing out loud,' that was my crowning achievement.

At this point we've answered about every question you could possibly imagine about Deep Space Nine, so we do this thing called Theatrical Jazz, where we do a show of bits and pieces of things from plays and literature, poetry... stuff that we like. It's fun.

Nowadays I get complaints about long drum solos, but in those days they wanted me to keep on going so they could go over to the bar and have a drink.

The turnaround is when you have a solo in betwixt the verses. You stoppin' to have a solo.

When you're making music or playing a song, I find the moments when there are no instruments being played even stronger than when they are being played. Because they add tension. It's also an ego-less thing - a place where you have no ego - when you're with a bunch of musicians who stop and listen instead.

I always had my guitar; I worked at writing some songs. I always played music - in the house. I sang to my daughters, I scribbled down some ideas. Actually I didn't always play music. I did leave it alone for some time too.

That gets me upset- you're jamming along, checking out the crowd and having a good time, and then your equipment goes down. You can't just stop the show and say, 'Oh, Jeff's got a guitar problem.'

I was 16 when I was in a band, for about 10 minutes. I went off and did acting after that. So it was a wee moment for me when I sang.

The narrative shouldn't stop for the song in a musical. The music has to continue the narrative of the storytelling.

I have a piano in my office, and sometimes during meetings, I'll sit down and goof on the keyboard a little bit.

Had I not become entangled with music, I would have become an author much earlier.

I quite like the drama of an encore. I think an encore is for those artists who are inclined to do dramatic gestures, and I certainly would say I am inclined towards them.

There's nothing stupider than bursting into song for seven seconds and then falling silent again.

Each piece I tell stands on its own, and then it all ties together. It segues from story to story, and then I wrap it up - like three-piece movements in a symphony.

Our tunes aren't just sing-along tunes: they're very complex. After a few days of that, you gotta take a break.

I'm sure there's going to be some material from This Is Not Going To Be Pretty. I usually use that song to just introduce myself to the audience, although the patter in between the song is always different.

'Gifts' was just a short little one-verse song that I used to close shows in the '60s.

I play the piano when I'm alone at home in the evening. Sometimes for friends when we are together, singing together, to create a nice atmosphere.

I love extended solos. I used to like them in the old days a lot, because it used to give me time to go to the pub for a drink.

At my shows, I want to be totally sharp and focused on every single song, on every single thing that I do, and plus, I have to because I'm, like, caking someone and have to run back and mix the next song... and I have so much fast, quick reflex timing.

You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.