But. . . we will always be drawn together. We'll always crave each other. We'll always be in tune with each other, physically and mentally. There is nothing that can change or break that. And even if there was, I wouldn't want to. Not for the world.
Working with a bunch of actors is like trying to tune each violin.
There's cleanliness to how I eat now. I'm much more in tune with my body, so now that I'm so in tune based on having become a semivegan, I can tell what foods affect energy levels. I can tell when I've been eating particularly high nutrient foods or I can tell when my glycemic levels are all over the place.
I do catch myself driving around singing tunes, but I don't know if it's necessarily show tunes.
If you don't have an album or you don't have any tune, you can't start.
I use heavy strings, tune low, play hard, and floor it. Floor it. That's technical talk.
Time expands, then contracts, all in tune with the stirrings of the heart.
I play any piano with a good tune.
If our lives are out of tune with the music of the gospel, we must tune them up.
Hymn tunes are the nearest we've got to English folk music.
Then little writings and recordings that thankfully continue to come up. I'm in this kind of wonderful, kind of awkward, off-putting, and strange position where there's nothing I want to do more than continue to make music, but the ways that I do things are not in tune with how I can do them commercially.
Virtue knows that it is impossible to get on without compromise, and tunes herself, as it were, a trifle sharp to allow for an inevitable fall in playing.
In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.
Express the psychedelic with the cybernetic. Turn on, tune in and boot up.
Companies have to take risks to get new knowledge, in a manner similar to how jazz musicians take risks when they go after a new approach to a tune or a performance.
There are things I've kept over the years and then someday I might pull up a program of some tune that I've done and I go "Wow, I know what to do with this now".
He is not in the least arrogant. The last album was written in a room in Sussex. He was like a mad professor, spending all day writing and then coming out with brilliant tunes.
Tune into my new lifetime movie. 'Dislocated shoulder' airing right now.
I just take a tune and play it the only way I can. That's it. I don't really dwell on it very much. Some people probably do. I can only say I play it the way I feel it.
Tunes have notes and tempos and rules. If the tune is "All the Things You Are," you have to adhere to its structure and to the tradition behind that structure.