I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it.
Jimmy PageRead
I've never mastered the guitar. Either I was playing it, or it was playing me; it depends how you look at it. As a kid, the only things I had to do was go to school, do my homework, and play guitar.
Interpretation
Mastery of an instrument can be subjective, reflecting the relationship between the musician and the music.
In this quote, Jimmy Page reflects on his journey with the guitar, suggesting that true mastery may not be just about skill, but rather the profound connection one has with the instrument. He hints at the idea that playing music can be an all-consuming experience where the musician is both in control and completely immersed in the art, revealing how personal and subjective the experience of music can be.
In practice
In a music class, when discussing the complexities of playing instruments.
I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it.
Once I get onstage the tension explodes and I'm fine. I'm in another world - in a trance almost, doing what I love best, expressing myself through guitar.
I can communicate far better on a guitar than I can through my mouth.
I wanted to emulate music from America - young punks playing rock n' roll is what it was. I read part of Keith Richards' autobiography, and it was totally parallel with me, learning from American records.
I'm involved in all things musical. It's all consuming, even if it doesn't necessarily manifest as a record or a concert.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.
I remember when I thought of singing as the bit that went between the guitar playing - something I couldn't wait to get out of the way. Singing was originally like a chore that I didn't really enjoy.
You know, for most of its life bluegrass has had this stigma of being all straw hats and hay bales and not necessarily the most sophisticated form of music. Yet you can't help responding to its honesty. It's music that finds its way deep into your soul because it's strings vibrating against wood and nothing else.
When everything is together - the band, me, the audience, it's boss! It's just like magic.
If you play more than two chords, you're showing off.
I think the most important thing for a listener is to realize that he, too, should not listen to music in a passive way; that if you sit in a concert hall and expect to be moved or taken off your seat by the music, it will not happen.
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