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I think when I was pretty young I got really into the tone of my instrument and I remember just playing one note for an hour to just kind of feel the resonance of the violin.
Andrew Bird
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Andrew Bird
Age: 51
Born: 1973
Born: July 11
Fiddler
Film Editor
Guitarist
Jazz Musician
Musician
Singer
Singer-Songwriter
Chicago
Illinois
Andrew Wegman Bird
Andrew W. Bird
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Resonance
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Violin
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More quotes by Andrew Bird
I've never approached classical music in a formal way, ever. I couldn't read very well. I'd have to play every piece and internalize it, almost as if I had written it myself.
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There's a lot of interesting words, nomenclatures, in science.
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I think any songwriter or record, no matter how good it is, can become tedious if it's the same person's point of view. After four tracks, you start to get worn down no matter how good it is. It can be relentlessly good, but it's still going to wear you out.
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I also don't believe that everything happens for a reason, which is in a similar category of world-views.
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I'm not a home-studio guy. I spend a lot of time working by myself developing songs, but I really need some other counterpart to help me pull it all together, because you go nuts working if I had to finish an entire project all within my own head.
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I finished touring the last record and I started recording new .I never really left the bubble, which is I think a good thing. I was just very focused. Maybe I should have taken a break or something, and not done such a long push.
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The way I work, I'm not a confessional singer-songwriter.
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Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.
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Playing the violin and singing and whistling are just three different ways of making sound. It's not trying to replace a band, per se. It's become a completely different thing. And it's not just simply an effect. It's just a very surprisingly intuitive thing.
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I've always found that whatever you say about indie rock, it is the most inclusive genre or title for anything. It doesn't pin you down too much, like other labels would. It's just newer, it has less baggage.
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What you see with your eyes when you're making music is going to have a profound effect on what you hear.
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What you see at the Field Museum is only like, 10 percent of the collection. It's birds of paradise and passenger pigeons and in all these drawers that pull out, these specimens come out and it's spectacular. And it worked out.
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Anyway, I'm digressing, but this is just kind of this 10-and-a-half-minute, ambient - you hear cicadas and birds and the wind outside and crickets as I'm swelling the piece. I could never do that on a pop record. I could, but why would I want to be agitating?
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I'm into lately being a little less precious about writing and being like, Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'
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Songwriting requires some sort of ceremony to even get the process started, and it can be somewhat arbitrary.
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I've done my share of busking, and it's fun until it isn't. There are musicians in the subways that will make you cry, they're so good.
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I create little challenges for myself, like, 'Okay, whatever you do in this song, you've got to somehow work in Greek Cypriots,' or something like that.
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I definitely have to give myself permission, like on Master Swarm, to rip a lead on that. Just play a violin solo that's - it's a bit showoff-y, but it's fun, so who cares?
Andrew Bird