Discover the most popular and inspiring quotes and sayings on the topic of Ensemble. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Ensemble Quotes And Sayings by 95 Authors including Ken Robinson,Justin Rosenstein,Billy Corgan,Chaka Khan,Travis Barker for you to enjoy and share.
Creative teams are dynamic.
Working together in concert more smoothly not only helps us move more quickly; it changes the nature of what we can undertake. When we have the confidence that we can orchestrate the group effort required to realize them, we dare bigger dreams.
I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.
I've been collaborating with Ira Schickman on some songs, and there will be many other, great musicians involved.
I've always loved playing in bands where there's like three or four people and we're all throwing out ideas and coming together to make an album.
I do the work with friends who are musicians as well. I'm working on a piece of music and I have an idea of who I want on the vocals, but I don't really have a list.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
In or orchestra we have many nationalities, types, and temperaments.
I love working with the quartet. I have more freedom and flexibility.
Why write for the orchestra? For one thing it's a very challenging problem.
Yet I've noticed the same thing when your band plays - the most amazing social coherence, as if you all shared the same brain."
"Sure," agreed 'Dope', "but you can't call that organization."
"What do you call it?"
"Jass.
A good quartet is like a good conversation among friends interacting to each other's ideas.
I like duos with percussionists. I like the songs that percussionists sing.
We are all an instrument with a special notation to our individual identity. When you incorporate many beautiful notes together, you envelop a harmonious orchestra.
It's kind of like, I love doing tons of different things. The only thing I hate is not being in ensembles.
I could hunker down by myself and listen closely to mixes, but then to be able to have a sounding board of peers to get advice and feedback.
I've been lucky enough to be part of some great ensembles in theater - I'd been doing theater since college.
Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.
The study of combinations should enrich the analytical spirit of studious amateurs. Thereafter the most gifted among them will be able to catch some sparks of the genius of masters, and in addition some rays of the glory that is the masters.
The studio's a collaborative environment. I just try to let people bring their own ideas to the songs and see what happens.
I've always been very interested in ensemble work. One reason why I don't go out and do a stand-up act is that I did it once and I found it unsatisfying. I don't really like being out there by myself. I like reacting with other people.
Great creative teams are diverse. They are composed of very different sorts of people with different but complementary talents.
In the studio, I'm always throwing people on different instruments.
I'm just trying to make the best music I can possibly make and represent the new class or whatever. Myself and Cudi and Asher and B.o.B. That's all I can do at this point.
What I really enjoy about writing for orchestras is realizing that - and it's kind of self-evident - but the fact that they are 48 individuals. It's not, you know, a preset on a keyboard. It's all these people who have opinions and who are making decisions about how to play.
Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
Maybe it's just my improv and sketch background, but I'm a lot more comfortable in a group. I like sharing focus and populating an ensemble.
I feel so entirely in my element with a full orchestra; even if my mortal enemies were marshalled before me, I could lead them, master them, surround them, or repulse them.
It was about finding creative, original musicians. Musicians who are strong composers. Flexible, empathetic musicians, who are great individually but who also have a great sense for cooperation and collaboration, great listeners as well as great players.
We stand for musical individuality. That's all we stand for.
Solitude is out of fashion. Our companies, our schools and our culture are in thrall to an idea I call the New Groupthink, which holds that creativity and achievement come from an oddly gregarious place.
Music of all arts should be expansive and inclusive.
But it is an orchestra," I say. "It's an imitation orchestra - an orchestrion, an orchestrina - whatever you call it, it does a terrible job! All you've done is turn a sublime group achievement, a human act, into an inferior egotistical solo -
I always find that the best collaborations are when you work with people that know what they're doing, and you leave them alone to do it.
An auditory scenario for the players to act out with their instruments.
A choral dance: an attempt to impose upon a chance gathering of a few dozen guests a communal feeling.
It is not together, but the ensemble is perfect.
Writing orchestra music, you need for the emotional content to come from everyone doing everything together, adding up as it goes, a crowd mentality.
This experiment succeeds especially well, we think, if the letters written on the board form by their ensemble one single word.
The ensemble playing is as clean as a whistle. The band plays in tune and with dynamics. Also, there is some fine arranging and orchestrating going on here, and the soloists perform at top level.
We'll be presenting a broad spectrum of the music and looking at how the younger guys can carry it on.
No rock and roll ensemble, however inspired, can deliver the kind of musical variety obtainable with the resources of 110 instruments.
I don't collaborate. You're born alone, you die alone, you get on stage alone.
I wouldn't go into the studio if I didn't have a band who's ready, willing, and able.
I prefer a quartet, it makes everyone work harder.
Composition is selective improvisation.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
Playing music well is difficult, yet the world has an abundance of fine performers. Explaining a little about music is easier, yet few do it well. Those who can do both supremely form a tiny club, whose honorary chairman is the conductor Michael Tilson Thomas.
Orchestra had a little brass ensemble on two tracks as well, but the rest was me. I knew I couldn't continue in this direction, even if people liked it, because I can only duplicate myself.
With an orchestra you are building citizens, better citizens for the community.
We fought and argued and loved and learned through the long, cold voyage. We chose teams, disbanded, re-formed, chose again, and now the fit is perfection within diversity.
Creativity is a team sport.
I do read everything that we publish. We usually have to have two or three votes for a book before we take it on. So in that sense I suppose it is an orchestra.
It's one thing to be a perfectionist when you're alone, but when you're trying to make it work in an ensemble that's a whole different deal.
The basis of our partnership strategy and our partnership approach: We build the social technology. They provide the music.
At last a dream come true. The Instrument of Instruments.
Composition is frozen improvisation.
One thing I've always been grateful for is the diversity of my listeners.
Me & Mik. I've never been part of an ampersand before.
I've got a great repertoire with my players.
Musical composition should bring happiness and joy to people and make them forget their troubles.
It is not a band. It is an idea.
As an improviser I'm now pretty comfortable with trios, so I'm thinking of working up to quartets.
We are the music makers, and we are the dreamers of dreams.
I love collaborating with different people.
I just have always felt that I think we know that it's an ensemble show, and it's very hard to pick a show to submit when you're nominated, because usually everyone has a very strong part in every episode.
My audience is a huge part of my success, so I see us as a team. They send me tons of song requests every day. Some of the songs I've never heard before, but I listen to them and then pick the ones that I love.
We come from a sensory-overload culture, and so we wonder if one guy on drums and one guy dancing around is enough. Adding guys was something we always were curious about. We decided for this run specifically to stay a two-piece. In the future, we definitely could add members.
If we were all determined to play the first violin we should never have an ensemble. Therefore, respect every musician in his proper place.
I cast people from right around me. I was at my alma mater. It's special to have most of the graduate students in it [and] one professor, because I feel like in terms of this school, I was one of the few students lucky enough to break into the art industry or the contemporary art world.
The challenge is this: training creative, independent, and innovative artists is new to us.
There are many talented people.
The vital power of an imaginative work demands a diversity within its unity; and the stronger the diversity the more massive the unity.
I'm one that likes to collaborate.
Sometimes the picture that emerges of the man seems no longer to agree with our conception of the musician. In reality, however, there is a glorious unity.
Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.
In an improv group and a successful work team, the members play off one another, each person's contributions providing the spark for the next. Together, the improvisational team creates a novel emergent product, one that's more responsive to the changing environment.
The Woodshed Orchestra trade in exuberance and might, a glistening thunderslap on the hind of musical atrophy. These songs leap from disc to lap, a many-legged beast trundling with joy and vision.
We are each a concert reverberating with our whole lives and reflecting and amplifying the world around us.
I see a symphony - and sometimes a grand opera - of elements that can be coordinated and harmonized to create a fantastic and memorable experience.
Does a banquet really need an asparagus server?" "Does an orchestra need a bassoon?
The more the ensemble, the duet or the forty piece orchestra, plays as one person, the more it makes people dance, because you're back in the womb. You feel mom's heartbeat. It makes you move. It reminds you of that warm, groovy space you were in.
I like the idea of playing in unison with yourself.
I've done shows with orchestras, and I like writing with orchestras.
Creative collaboration is awesome.
I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.
I prefer, and it turns out to be the truth, that I always have in my movies an ensemble of actors, but not just one individual doing the whole movie.
I'm developing artists for my new record label, my son's band, Intangible, being one of them.
My team can't agree on our first design. So, your team is made up of dynamic, creative minds that think differently. Congratulations!
Our little solos are a note in an immense chorus vibrating grandly through the universe, a chorus which accepts and harmonizes the whir of the cricket and the long drum-roll of the stars.
The fact that a total of 18 musicians humbly came together to share the glory and create something this original, epic, and downright heavy, is a feat worthy of deep respect.
All your travelling is together, you eat together, you're on stage as a band together, when you get to the sound-check the band and the crew are all together.
It is the harmony of the diverse parts, their symmetry, their happy balance; in a word it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the details.
I'll do a cappella stuff, rock 'n' roll and swing stuff.
Every orchestra I know, every opera house I know, is desperately looking around trying to find new talent, new composing talent, supporting young composers, supporting new ideas, supporting new ways of getting the message across.
When I do solo stuff, when I do anything involving music, it's very collaborative.
We worked as a team ... I was one of the band.
I learned that when you're lucky enough to be surrounded by such talented people that you really become more of an orchestrator of this talent - you're just trying to harmonise everyone's contributions.
Trained as a musician, [photographer Ansel] Adams understood the richness of variation that could be unfolded from a simple theme.
I like to work with artists who are as wide in their musical taste as I am.