Composers From The United States

"The pressure to give A grades is intense. It comes from the students and increasingly from their parents as well."

"Nowadays, all students have access to and indeed most own computers and are comfortable with the software used to compose music. There are probably too many musical options for them now and the trick is to limit the number of musical ideas so as to develop structure and continuity in their work."

"Dartmouth is the place I’ve devoted my life to, so it’s very sad to see this kind of decline in the intellectual strength of the institution."

"'Mid pleasures and palaces though we may roam, Be it ever so humble, there 's no place like home; A charm from the skies seems to hallow us there, Which sought through the world is ne'er met with elsewhere."

"An exile from home splendour dazzles in vain, Oh give me my lowly thatched cottage again; The birds singing gayly, that came at my call, Give me them, and that peace of mind dearer than all."

"The best part of being a songwriter — beyond being able to make a living at it — is what I call the "heart payment" of a song. That's when somebody comes up after a concert and says, "My mom was a single mom, and 'You And Me Against The World' was a really important song to us." Or "We got married to 'We've Only Just Begun'" or 'Evergreen.' Or "'I Won't Last A Day Without You' got me through some hard times.'" That's heart payment for a songwriter."

"I think the trick for any songwriter is authenticity. For the young songwriter coming up who is connected to his generation, as I was connected to mine, write honestly about what's going on in the center of your life. You know, when "We've Only Just Begun" was a Number 1 record, I think the Number 1 album in the country was "In-A-Gadda-Da-Vida." So it was as far away from what was happening in the music scene as you can get. And yet it was a hit. I think it was a hit because of, obviously, Karen's amazing vocal, but I think that any time we write authentically and honestly about what's going on in the center of our chest, because people are so much alike, there's a big a chance that it's going on in the center of your chest, too."

"Relating to the specifics of relationships, and writing love songs, I tapped into something that seemed to work for my generation. I love the fact that some of the songs continue to survive, but I think that there's a window of opportunity for a time when you really, really relate to your generation. And I think a lot of us pass through that as songwriters."

"In time, we kiss — hello!"

"Our paths have crossed and parted, This love affair was started Long, long ago. This love survives the ages In its story lives are pages Fill them up, may ours turn slow."

"Our love is a strong love, baby. We give it all And still receive."

"All souls last forever So we need never fear goodbye."

"Our love is an old love, baby. It's older than all our years. I have seen in strange young eyes Familiar tears."

"We're old souls in a new life baby. They gave us a new life To live and learn."

"So much of life ahead We'll find a place where there's room to grow, And yes, we've just begun."

"Why are there so many songs about rainbows And what's on the other side? Rainbows are visions, but only illusions, And rainbows have nothing to hide. So we've been told and some choose to believe it I know they're wrong, wait and see. Someday we'll find it, the rainbow connection, The lovers, the dreamers and me."

"Sharing horizons that are new to us, Watching the signs along the way, Talking it over just the two of us, Working together day to day Together."

"We've only just begun to live, White lace and promises A kiss for luck and we're on our way."

"Before the rising sun we fly, So many roads to choose We start out walking and learn to run."

"I know this from somewhere—it seems as though every time I turn on the radio this seems to slip in; and I've always liked it. It's cute, real cute; and although it's sort of not in my department and I don't know too much about that type of music, I like it an awful lot. Wonderful piano; vibes sound like what's his name, [[w:Terry Gibbs|[Terry] Gibbs]], a little bit; and the alto, if it's not the Bird, he loves Bird. All the solos were wonderful. I've got to give it four stars."

"Contrary to several conflicting stories, I got the name "Count" right in Kansas City in 1936 while at the Reno Club. I was known as Bill Basie at that time. One night, while we were broadcasting, the announcer called me to the microphone for those usual few words of introduction. He commented that Bill Basie was a rather ordinary name, and further that there were a couple of well-known bandleaders named Earl Hines and Duke Ellington. Then he said, "Bill, I think I'll call you Count Basie from now on. Is that all right with you?" I thought he was kidding, shrugged my shoulders and replied, "OK." Well that was the last time I was ever introduced as Bill Basie. From then on, it was Count Basie, and I never did lose that nickname. It's funny the way those things will stick."

"It's the way you play that makes it. What I say is, for Christ's sake, you don't have to kill yourself to sing. Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story."

"Count Basie’s name brings to mind associations that might seem contradictory: a famously minimalist piano style and the celebrated big band he led for 50 years. In fact, the two were perfect complements. The Basie band took much of its character from the subtle way the Count’s pithy, elliptical attack framed his shouting brass and saxes. More crucially, Basie’s touch set the tone for the band’s rhythm section; the light, insistent pulse that generated the irresistible current of swing that lifted soloists and ensemble to heights of inspired excitement."

"The Basie band took much of its character from the subtle way the Count’s pithy, elliptical attack framed his shouting brass and saxophones. More crucially, Basie’s touch set the tone for the band’s rhythm section; the light, insistent pulse that generated the irresistible current of swing that lifted soloists and ensemble to heights of inspired excitement."

"Oft did I wonder why the setting sun Should look upon us with a blushing face: Is't not for shame of what he hath seen done, Whilst in our hemisphere he ran his race?"

"On a lone barren isle, where the wild roaring billows Assail the stern rock, and the loud tempests rave, The hero lies still, while the dew-drooping willows, Like fond weeping mourners, lean over his grave. The lightnings may flash and the loud thunders rattle; He heeds not, he hears not, he's free from all pain; He sleeps his last sleep, he has fought his last battle; No sound can awake him to glory again!"

"Yet spirit immortal, the tomb can not bind thee, But like thine own eagle that soars to the sun Thou springest from bondage and leavest behind thee A name which before thee no mortal hath won. Tho' nations may combat, and war's thunders rattle, No more on thy steed wilt thou sweep o’er the plain: Thou sleep'st thy last sleep, thou hast fought thy last battle, No sound can awake thee to glory again."

"On the island of New Georgia in the Solomons, Stands a simple wooden cross alone to tell That beneath the silent coral of the Solomons, Sleeps a man, sleeps a man remembered well."

"Praise the Lord and pass the ammunition Praise the Lord and pass the ammunition Praise the Lord and pass the ammunition And we'll all stay free. Praise the Lord and swing into position Can't afford to sit around a-wishin' Praise the Lord, we're all between perdition And the deep blue sea."

"I've got spurs that jingle, jangle, jingle, As I go riding merrily along. And they sing, "Oh, ain't you glad you're single?" And that song ain't so very far from wrong."

"The producer orders a certain title. The musical director orders a certain rhythm. The dance director orders a certain number of bars. And the composer orders a certain number... of aspirin. [on working in Hollywood]"

"I'd love to get you on a slow boat to China, All to myself, alone. Get you and keep you in my arms evermore, Leave all your lovers weeping on the far away shore."

"No, they've got no time for glory in the Infantry. No, they've got no use for praises loudly sung, But in every soldier's heart in all the Infantry Shines the name, shines the name of Rodger Young."

"I love you, A bushel and a peck, A bushel and a peck and a hug around the neck. Hug around the neck and a barrel and a heap, Barrel and a heap and I'm talking in my sleep."

"My purpose is to create music not for snobs, but for all people, music which is beautiful and healing. To attempt what old Chinese painters called 'spirit resonance' in melody and sound."

"I propose to create an heroic, monumental style of composition simple enough to inspire all people, completely free from fads, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnatural. Music must be freed from decadence and stagnation. There has been too much emphasis on small things while the great truths have been overlooked. The superficial must be dispensed with. Music must become virile to express big things. It is not my purpose to supply a few pseudo intellectual musicians and critics with more food for brilliant argumentation, but rather to inspire all mankind with new heroism and spiritual nobility. This may appear to be sentimental and impossible to some, but it must be remembered that Palestrina, Handel, and Beethoven would not consider it either sentimental or impossible. In fact, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankind."

"The greater the emotional intensity, the greater the simplicity."

"We are in a very dangerous period. We are in danger of destroying ourselves, and I have a great fear about this…The older generation is ruling ruthlessly. I feel that this is a terrible threat to our civilization. It's the greed of huge companies and huge organizations which control life in a kind of a brutal way…It's gotten worse and worse, somehow, because physical science has given us more and more terrible deadly weapons, and the human spirit has been destroyed in so many cases, so what's the use of having the most powerful country in the world if we have killed the soul. It's of no use."

"Pa was forced to be a hobo Because he played the oboe And the oboe it is clearly understood Is an ill wind that nobody blows good"

"And why do I sew each new chapeau With a style they most look positively grim in? Strictly between us, entre-nous I hate women."

"On! ye patriots to the battle. Hear Fort Moultrie's canon rattle. Then away, then away, then away to the fight! Go meet those Southern Traitors with iron will and should your courage falter boys, remember Bunker Hill. Hurrah! Hurrah! Hurrah! The stars and stripes forever! Hurrah! Hurrah! Our Union shall not sever! As our fathers crushed oppression deal with those who breathe Secession. Then away, then away, then away to the fight. Though Beauregard and Wigfall. Their swords may whet. Just tell them Major Anderson. Has not surrendered yet. Hurrah! Hurrah! Our Union shall not sever! Is Virginia, too, seceeding? Washington's remains unheeding? Then away, then away, then away to the fight. Unfold our country's banner. In triumph there and let the rebels desecrate that banner if they dare. Hurrah! Hurrah! Our Union shall not sever! Volunteers, be up and doing. Still the good old path pursuing. Then away, then away, then away to the fight. Your sires, who fought before you have led the way. Then follow in their footsteps and be as brave as they. Hurrah! Hurrah! Our Union shall not sever! On! ye patriots to the battle. Hear Fort Moultrie's cannon rattle then away, then away, then away to the fight. The star that lights our Union shall never set! Though fierce may be the conflict we'll gain the victory yet. Hurrah! Hurrah! Our Union shall not sever!"

"The vilest offender who truly believes, That moment from Jesus a pardon receives."

"“Give,” said the little stream, “Give, oh give, give, oh give,” As it hurried down the hill. “I am small, I know, but wherever I go The fields grow greener still.”"

"My job is to play music, not politics, and my only obligation is to the people who pay to listen to me. I don't attempt to ram hackneyed, insipid tunes down the public's throat just because they've been artificially hypoed to the so-called 'hit' class. This policy of trying to maintain some vestige of musical integrity has, naturally, earned me enemies, people who think I'm a longhair, impressed with my own ability. Nothing could be farther from the truth. My faith in dance music — I refuse to call it swing — borders on the fanatic. I have the utmost respect for the many real musicians who are creating a new music as important as the classics, but I have no respect for musical clowns who lead an orchestra with a baton and a quip. However, more power to them if they can make it pay."

"It became such a hit that it superseded anything that any band had ever had. It was the first time that a so-called swing band played something melodic and still gave it a beat."

"You run into a party and [a] woman comes up to you. She's the most beautiful creature you ever saw — Ava Gardner — and says, "I like you and why don't we get together?" What are you going to say, "No"? You'd have to be an idiot. She was an incredible creature."

"Plays also, but musicals particularly—the last collaborator is your audience. So you got to wait until the last collaborator comes in before you can complete the collaboration. And when the audience comes in, it changes the temperature of what you've written. And things that seem to work well, work in the sense of carry the story forward and be integral to the piece, suddenly become a little less relevant or a little less functional, or a little overlong, or a little overweight, or a little whatever. And so you start reshaping in front of an audience."

"Without question, Steve is the best Broadway lyricist, past or present."

"I'm a lazy writer. My idea of heaven is not writing. On the other hand, I'm obviously compulsive about it."

"There's a place for us, Somewhere a place for us Peace and quiet and open air wait for us, Somewhere. There's a time for us, Some day a time for us Time together with time to spare, time to look, time to care, Someday. Somewhere we'll find a new way of living. We'll find a way of forgiving, Somewhere.'"