They teach you there's a boundary line to music. But, man, there's no boundary line to art.
Charlie ParkerRead
I could hear it sometimes, but I couldn't play it. I'd been getting bored with the stereotyped changes that were being used. I found that by using the higher intervals of a chord as a melody line and backing them with related changes, I could play the thing I'd been hearing.
Interpretation
The quote reflects the journey of creative expression and the struggle to translate ideas into reality.
In this quote, Charlie Parker speaks to the frustration and longing of a musician striving to capture an elusive musical idea. He describes the process of innovating beyond conventional chord progressions to discover a unique melody, illustrating the importance of creativity and individuality in artistic expression.
In practice
This quote can be used in a speech about the creative process in music.
They teach you there's a boundary line to music. But, man, there's no boundary line to art.
If you come on a band tense, you're going to play tense. If you come a little bit foolish, act just a little bit foolish, and let yourself go, better ideas will come.
Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art.
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.
I kept thinking there's bound to be something else? I could hear it sometimes, but I couldn't play it.
I don't care who likes it or buys it. Because if you use that criterion, Mozart would never have written Don Giovanni, Charlie Parker would have never played anything but swing music.
I will say only that all a writer has to work with is the material he has gathered as the result of his own endeavor and observations, and he cannot be denied the right to use it. Condemn, but not deny.
Jazz, to me, is one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul - the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.
Played percussively, the piano is a bore. If I go to a concert and someone plays like that I have two choices: go home or go to sleep. The goal is to make the piano sing, sing, sing.
Dialogue must appear realistic without being so. Actual realism-the lifting, as it were, of passages from a stenographer's take-down of a 'real life' conversation-would be disruptive. Of what? Of the illusion of the novel. In 'real life' everything is diluted; in the novel everything is condensed.
And yet, in a culture like ours, which is given to material comforts, and addicted to forms of entertainment that offer immediate gratification, it is surprising that so much poetry is written.
If only America would realize that the art of Europe is finished - dead - and that America is the country of the art of the future, instead of trying to base everything she does on European traditions!
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