1 00:00:00,000 --> 00:00:00,070 2 00:00:00,070 --> 00:00:01,670 The following content is provided 3 00:00:01,670 --> 00:00:03,820 under a Creative Commons license. 4 00:00:03,820 --> 00:00:06,540 Your support will help MIT OpenCourseWare continue 5 00:00:06,540 --> 00:00:10,120 to offer high-quality educational resources for free. 6 00:00:10,120 --> 00:00:12,700 To make a donation, or view additional materials 7 00:00:12,700 --> 00:00:16,422 from hundreds of MIT courses, visit MIT OpenCourseWare 8 00:00:16,422 --> 00:00:17,205 at ocw.mit.edu. 9 00:00:17,205 --> 00:00:29,927 10 00:00:29,927 --> 00:00:30,510 PROFESSOR: OK. 11 00:00:30,510 --> 00:00:32,070 So, what we're doing today is what 12 00:00:32,070 --> 00:00:34,190 I call flexology-- most of you were here 13 00:00:34,190 --> 00:00:38,710 last time-- this conducted improvisation approach. 14 00:00:38,710 --> 00:00:41,890 So, we've got a music stand here for the conductors, 15 00:00:41,890 --> 00:00:42,710 if you want it. 16 00:00:42,710 --> 00:00:46,520 And we've got a couple stands here if people need anything. 17 00:00:46,520 --> 00:00:48,830 But you're free to do whatever you want, so-- 18 00:00:48,830 --> 00:00:52,760 AUDIENCE 1: So, I have three different melodic lines. 19 00:00:52,760 --> 00:00:53,702 Copy for you. 20 00:00:53,702 --> 00:00:55,115 PROFESSOR: Thanks. 21 00:00:55,115 --> 00:00:57,940 AUDIENCE 1: So, they're labeled 3, 4, and 5, 22 00:00:57,940 --> 00:01:02,380 and I'll signal those with the appropriate number. 23 00:01:02,380 --> 00:01:06,250 And then the other cues, I listed at the bottom, so 1, 1 24 00:01:06,250 --> 00:01:08,930 and 2 are from the standard flexology sheet, 25 00:01:08,930 --> 00:01:11,140 so 1 is you improvise with a lot of notes, sort 26 00:01:11,140 --> 00:01:13,440 of active playing, 2 is improvised 27 00:01:13,440 --> 00:01:16,890 with a few other notes, mostly. 28 00:01:16,890 --> 00:01:20,090 3 to 5 is [INAUDIBLE] by [INAUDIBLE] the melodic line, 29 00:01:20,090 --> 00:01:23,010 and then feel free to improvise upon it once you've played it 30 00:01:23,010 --> 00:01:25,156 once or twice. 31 00:01:25,156 --> 00:01:27,050 If I need to change the dynamics, 32 00:01:27,050 --> 00:01:30,240 I'll indicate it sort of hopefully intuitively, 33 00:01:30,240 --> 00:01:32,162 and that's it. 34 00:01:32,162 --> 00:01:34,617 I decided not to do cue-out and cue-in. 35 00:01:34,617 --> 00:01:38,054 I can just take care of that with dynamics. 36 00:01:38,054 --> 00:01:40,018 Any questions about the cues? 37 00:01:40,018 --> 00:01:43,950 38 00:01:43,950 --> 00:01:45,339 OK. 39 00:01:45,339 --> 00:01:46,880 PROFESSOR: Then we should try to keep 40 00:01:46,880 --> 00:01:49,835 all of these about two minutes, maybe two and 1/2 minutes. 41 00:01:49,835 --> 00:01:50,817 Something like that. 42 00:01:50,817 --> 00:01:51,800 AUDIENCE: OK. 43 00:01:51,800 --> 00:01:56,084 So, to cue you in, I'll do a number and call you up. 44 00:01:56,084 --> 00:01:56,584 OK. 45 00:01:56,584 --> 00:01:57,125 So let's try. 46 00:01:57,125 --> 00:02:03,215 47 00:02:03,215 --> 00:02:06,674 [PLAYING FLUTE] 48 00:02:06,674 --> 00:02:33,620 49 00:02:33,620 --> 00:02:37,113 [FLUTE AND GUITAR PLAYING] 50 00:02:37,113 --> 00:02:54,410 51 00:02:54,410 --> 00:02:57,320 [PIANO, FLUTE, AND GUITAR PLAYING] 52 00:02:57,320 --> 00:04:34,685 53 00:04:34,685 --> 00:04:39,158 [APPLAUSE] 54 00:04:39,158 --> 00:04:40,050 PROFESSOR: Very nice. 55 00:04:40,050 --> 00:04:41,185 How did that suit your-- 56 00:04:41,185 --> 00:04:42,810 AUDIENCE 1: The [INAUDIBLE] are varied, 57 00:04:42,810 --> 00:04:46,291 but this thing I noticed when people began playing was when 58 00:04:46,291 --> 00:04:49,710 I envisioned this in my head, I was swinging the eighth notes, 59 00:04:49,710 --> 00:04:51,940 but I didn't write that on the cue sheet, 60 00:04:51,940 --> 00:04:54,462 so you guys decided to play it straight. 61 00:04:54,462 --> 00:04:56,465 And, I didn't even thought of listening 62 00:04:56,465 --> 00:04:59,450 to the piece that way. 63 00:04:59,450 --> 00:05:04,340 The other shocking thing was hearing things be out of phase, 64 00:05:04,340 --> 00:05:06,010 since I didn't really establish a tempo, 65 00:05:06,010 --> 00:05:08,130 but it still worked out well even 66 00:05:08,130 --> 00:05:11,714 when people weren't playing together. 67 00:05:11,714 --> 00:05:12,380 PROFESSOR: Yeah. 68 00:05:12,380 --> 00:05:13,040 Very nice. 69 00:05:13,040 --> 00:05:14,414 Players, any comments? 70 00:05:14,414 --> 00:05:18,000 71 00:05:18,000 --> 00:05:20,094 Was this clear? 72 00:05:20,094 --> 00:05:21,510 Could you follow the instructions? 73 00:05:21,510 --> 00:05:24,310 74 00:05:24,310 --> 00:05:27,650 Because it looked like a very clear set-up on the page. 75 00:05:27,650 --> 00:05:30,120 Very, very good to have five things, three of them 76 00:05:30,120 --> 00:05:34,139 actual lines, two of them sort of textural things, 77 00:05:34,139 --> 00:05:35,680 and we've got the whole density thing 78 00:05:35,680 --> 00:05:37,846 that we've worked with before on a couple occasions. 79 00:05:37,846 --> 00:05:39,414 So I thought that was really good. 80 00:05:39,414 --> 00:05:41,650 Really good. 81 00:05:41,650 --> 00:05:44,080 And obviously, you said you were shocked sort of. 82 00:05:44,080 --> 00:05:47,705 If you did this again, you could specify more things. 83 00:05:47,705 --> 00:05:48,330 PROFESSOR: Yep. 84 00:05:48,330 --> 00:05:49,820 You could specify swing eighth notes. 85 00:05:49,820 --> 00:05:51,516 AUDIENCE 1: You could-- I didn't even think of writing that, 86 00:05:51,516 --> 00:05:52,400 but I should have. 87 00:05:52,400 --> 00:05:53,490 AUDIENCE 1: Right. 88 00:05:53,490 --> 00:05:55,969 Well, maybe or maybe not. 89 00:05:55,969 --> 00:05:58,010 AUDIENCE 1: I like the way it turned out, anyway. 90 00:05:58,010 --> 00:05:58,070 PROFESSOR: Yeah. 91 00:05:58,070 --> 00:05:59,690 It was very nice, very musical. 92 00:05:59,690 --> 00:06:01,330 And once again, we had the situation 93 00:06:01,330 --> 00:06:05,870 where, particularly, piano is the main rhythmic instrument. 94 00:06:05,870 --> 00:06:08,070 So once piano comes in and establishes 95 00:06:08,070 --> 00:06:11,570 a groove of some sort, another concept we've talked about, 96 00:06:11,570 --> 00:06:14,350 people tend to gravitate around that. 97 00:06:14,350 --> 00:06:17,910 So, if you are going to do this a second time, 98 00:06:17,910 --> 00:06:20,300 you might specify the swing quality, 99 00:06:20,300 --> 00:06:24,090 but you might also say, try not to get into a groove. 100 00:06:24,090 --> 00:06:26,875 Just as a test case sort of thing. 101 00:06:26,875 --> 00:06:28,896 Just something to work with. 102 00:06:28,896 --> 00:06:30,013 Very nice. 103 00:06:30,013 --> 00:06:30,512 Cool. 104 00:06:30,512 --> 00:06:31,890 Who would like to go next? 105 00:06:31,890 --> 00:06:34,300 106 00:06:34,300 --> 00:06:34,800 OK. 107 00:06:34,800 --> 00:06:35,714 PROFESSOR: Go for it. 108 00:06:35,714 --> 00:06:36,630 AUDIENCE 2: All right. 109 00:06:36,630 --> 00:06:38,500 So, I'm just going to draw this on the board. 110 00:06:38,500 --> 00:06:39,208 PROFESSOR: Uh-oh. 111 00:06:39,208 --> 00:06:41,900 112 00:06:41,900 --> 00:06:44,420 AUDIENCE 2: So, my piece starts off with a set tempo, 113 00:06:44,420 --> 00:06:46,490 so I'll sort of signal that at the beginning. 114 00:06:46,490 --> 00:06:51,070 And then the goal after that is to slowly introduce 115 00:06:51,070 --> 00:06:52,806 each of the instruments. 116 00:06:52,806 --> 00:06:55,698 I guess I'm just going to include everyone 117 00:06:55,698 --> 00:06:58,472 in this, because at the beginning 118 00:06:58,472 --> 00:06:59,680 it's going to be very sparse. 119 00:06:59,680 --> 00:07:02,096 Basically, I'm just going to ask you guys to pick one note 120 00:07:02,096 --> 00:07:05,165 and do any rhythm that you want on that note, but in the tempo. 121 00:07:05,165 --> 00:07:07,145 And I'll also introduce you guys one at a time. 122 00:07:07,145 --> 00:07:09,215 And them I'm going to have two motives that are just 123 00:07:09,215 --> 00:07:10,881 going to be sort of visual, and I'm just 124 00:07:10,881 --> 00:07:14,150 going to cue you guys one or two each at a time, 125 00:07:14,150 --> 00:07:16,316 and then the rest of you guys just stay on your note 126 00:07:16,316 --> 00:07:16,900 that you pick. 127 00:07:16,900 --> 00:07:19,232 So basically, you have the center note, which is the one 128 00:07:19,232 --> 00:07:20,410 that you choose. 129 00:07:20,410 --> 00:07:22,746 And so the first motive will be like this. 130 00:07:22,746 --> 00:07:31,586 131 00:07:31,586 --> 00:07:32,710 So that's the first motive. 132 00:07:32,710 --> 00:07:36,252 So this is-- And then the second one. 133 00:07:36,252 --> 00:07:49,401 134 00:07:49,401 --> 00:07:51,754 So this is [? my idea. ?] 135 00:07:51,754 --> 00:07:53,170 PROFESSOR: You like the sine wave? 136 00:07:53,170 --> 00:07:53,440 AUDIENCE 2: Yeah. 137 00:07:53,440 --> 00:07:54,648 Sort of a mix of frequencies. 138 00:07:54,648 --> 00:07:56,854 PROFESSOR: What's the top one? 139 00:07:56,854 --> 00:07:58,104 AUDIENCE 2: I don't know. 140 00:07:58,104 --> 00:08:00,270 AUDIENCE 1: Any indication of how long each of those 141 00:08:00,270 --> 00:08:00,758 should be? 142 00:08:00,758 --> 00:08:01,383 AUDIENCE 2: No. 143 00:08:01,383 --> 00:08:02,340 For the pitch. 144 00:08:02,340 --> 00:08:05,630 So, this is your starting note and then go up. 145 00:08:05,630 --> 00:08:07,840 And the actual notes you use are totally up to you. 146 00:08:07,840 --> 00:08:09,410 It's all improvisation. 147 00:08:09,410 --> 00:08:12,890 So, I guess I'm going to start from this side with piano 148 00:08:12,890 --> 00:08:14,980 and introduce you guys in one at a time, 149 00:08:14,980 --> 00:08:17,360 and just go with the tempo and start a rhythm on a note 150 00:08:17,360 --> 00:08:18,860 and then once we have everyone in, 151 00:08:18,860 --> 00:08:20,342 then we'll go for these motives. 152 00:08:20,342 --> 00:08:21,824 So-- 153 00:08:21,824 --> 00:08:25,776 [PIANO PLAYING] 154 00:08:25,776 --> 00:08:29,728 AUDIENCE 2: I just want one note. 155 00:08:29,728 --> 00:08:36,280 [PIANO AND TRUMPET PLAYING] 156 00:08:36,280 --> 00:08:39,315 [ALL INSTRUMENTS PLAYING] 157 00:08:39,315 --> 00:09:56,847 158 00:09:56,847 --> 00:10:00,326 [APPLAUSE] 159 00:10:00,326 --> 00:10:01,980 PROFESSOR: Composer, conductor? 160 00:10:01,980 --> 00:10:02,820 AUDIENCE 2: That one sounded cool. 161 00:10:02,820 --> 00:10:04,278 I wasn't really expecting anything, 162 00:10:04,278 --> 00:10:08,450 because these are just sort of randomly made up, 163 00:10:08,450 --> 00:10:11,987 but it was interesting. 164 00:10:11,987 --> 00:10:15,561 I like how it had the sort of groove 165 00:10:15,561 --> 00:10:17,310 to it in the way that it started out with. 166 00:10:17,310 --> 00:10:20,807 And I guess it would have been nice to have some areas that 167 00:10:20,807 --> 00:10:21,890 were a little more sparse. 168 00:10:21,890 --> 00:10:27,110 I probably should have had some signal sort of for people 169 00:10:27,110 --> 00:10:28,970 to drop out and make it sparser so I go back 170 00:10:28,970 --> 00:10:31,995 to that rhythmic thing, but I guess 171 00:10:31,995 --> 00:10:33,734 that was just something [INAUDIBLE]. 172 00:10:33,734 --> 00:10:34,400 PROFESSOR: Cool. 173 00:10:34,400 --> 00:10:35,150 Players. 174 00:10:35,150 --> 00:10:39,296 Comments from the players. 175 00:10:39,296 --> 00:10:42,630 AUDIENCE 1: Everyone did the lines differently. 176 00:10:42,630 --> 00:10:44,915 PROFESSOR: Right. 177 00:10:44,915 --> 00:10:46,230 AUDIENCE 3: You asked, right? 178 00:10:46,230 --> 00:10:49,620 If you hadn't asked what does the level of the line 179 00:10:49,620 --> 00:10:50,290 represent? 180 00:10:50,290 --> 00:10:50,610 Pitch. 181 00:10:50,610 --> 00:10:50,980 OK. 182 00:10:50,980 --> 00:10:53,105 Probably people would have played that differently. 183 00:10:53,105 --> 00:10:55,710 184 00:10:55,710 --> 00:10:58,500 PROFESSOR: What did you feel as you were playing? 185 00:10:58,500 --> 00:11:02,800 What did you feel or what did you hear as you were playing? 186 00:11:02,800 --> 00:11:04,976 AUDIENCE 3: I felt like I was taking a walk. 187 00:11:04,976 --> 00:11:07,690 I mean, because you had everyone doing their-- 188 00:11:07,690 --> 00:11:13,153 they had some simple walking in place kind of thing filling out 189 00:11:13,153 --> 00:11:14,236 before the lines happened. 190 00:11:14,236 --> 00:11:16,954 191 00:11:16,954 --> 00:11:19,120 PROFESSOR: What about in terms of the overall sound? 192 00:11:19,120 --> 00:11:24,020 193 00:11:24,020 --> 00:11:27,142 The way you described is your particular perspective. 194 00:11:27,142 --> 00:11:27,967 Right? 195 00:11:27,967 --> 00:11:29,050 AUDIENCE 3: Well, kind of. 196 00:11:29,050 --> 00:11:30,962 I mean, it was based on my feeling 197 00:11:30,962 --> 00:11:32,920 from what everyone else sounded like, but yeah. 198 00:11:32,920 --> 00:11:34,040 It was how I felt. 199 00:11:34,040 --> 00:11:34,760 PROFESSOR: OK. 200 00:11:34,760 --> 00:11:38,360 And what I'm trying to get at is, did other people 201 00:11:38,360 --> 00:11:39,377 basically do that? 202 00:11:39,377 --> 00:11:40,960 Because that's a typical thing you do. 203 00:11:40,960 --> 00:11:43,810 You think about what you're doing. 204 00:11:43,810 --> 00:11:50,450 And/or did you factor in playing off of what others were doing? 205 00:11:50,450 --> 00:11:52,775 Was anybody more conscious of the second approach? 206 00:11:52,775 --> 00:12:01,750 207 00:12:01,750 --> 00:12:04,790 Or can't you remember? 208 00:12:04,790 --> 00:12:06,250 Because it was hard to tell. 209 00:12:06,250 --> 00:12:08,540 Frankly, as an observer, it was very 210 00:12:08,540 --> 00:12:10,790 nice what was being created. 211 00:12:10,790 --> 00:12:13,390 But it was almost like I could tell, as we went this way, 212 00:12:13,390 --> 00:12:16,530 that each neighbor was listening to the neighbor. 213 00:12:16,530 --> 00:12:18,190 That's the easiest thing. 214 00:12:18,190 --> 00:12:20,769 But I'm not sure whether-- were people 215 00:12:20,769 --> 00:12:23,060 aware of what was happening on the piano, for instance? 216 00:12:23,060 --> 00:12:26,230 217 00:12:26,230 --> 00:12:28,650 And were you aware of what was going on at the other end? 218 00:12:28,650 --> 00:12:30,120 AUDIENCE 4: I could, like, [INAUDIBLE]. 219 00:12:30,120 --> 00:12:32,570 It's kind of hard to make out, because it's a [INAUDIBLE]. 220 00:12:32,570 --> 00:12:34,069 AUDIENCE 3: Yeah, I think because it 221 00:12:34,069 --> 00:12:37,892 was so dense it would be hard to hear the entire thing. 222 00:12:37,892 --> 00:12:38,600 PROFESSOR: Right. 223 00:12:38,600 --> 00:12:41,530 Well, these are things we want to work towards, 224 00:12:41,530 --> 00:12:46,760 and, you know, especially, particularly, 225 00:12:46,760 --> 00:12:48,010 collective improvisation. 226 00:12:48,010 --> 00:12:50,520 Solo improvisation is its own animal. 227 00:12:50,520 --> 00:12:54,210 And that has peculiarities and things that you have to know. 228 00:12:54,210 --> 00:12:57,180 But collectively, which is what we've been doing mainly, 229 00:12:57,180 --> 00:13:00,350 it really is a challenge to try to listen to the whole thing 230 00:13:00,350 --> 00:13:04,100 develop as well as be attentive to your contribution. 231 00:13:04,100 --> 00:13:06,780 So let me just suggest that, as we go forward, 232 00:13:06,780 --> 00:13:08,530 we just try to pay a little more attention 233 00:13:08,530 --> 00:13:10,940 to the overall gestalt, so to speak, as we go on. 234 00:13:10,940 --> 00:13:13,210 But this was great, and what was happening was great. 235 00:13:13,210 --> 00:13:14,730 Really wonderful stuff. 236 00:13:14,730 --> 00:13:17,216 And once you came in, now we got the oboe into the mix. 237 00:13:17,216 --> 00:13:18,590 So that's another-- and now we're 238 00:13:18,590 --> 00:13:20,910 going to have another flute. 239 00:13:20,910 --> 00:13:21,410 Good. 240 00:13:21,410 --> 00:13:23,246 Now, if you can give me a written thing of this, 241 00:13:23,246 --> 00:13:23,692 that's important. 242 00:13:23,692 --> 00:13:23,888 AUDIENCE 3: Oh, yeah. 243 00:13:23,888 --> 00:13:24,138 I'll send it to you. 244 00:13:24,138 --> 00:13:25,480 PROFESSOR: That'd be great. 245 00:13:25,480 --> 00:13:25,650 OK. 246 00:13:25,650 --> 00:13:26,733 Who would like to go next? 247 00:13:26,733 --> 00:13:30,687 So is that a couple of melodic fragments? 248 00:13:30,687 --> 00:13:31,520 AUDIENCE 5: Ah, yep. 249 00:13:31,520 --> 00:13:38,765 So I have two small written parts, here. 250 00:13:38,765 --> 00:13:43,980 And I have those-- 1 and 2, I guess. 251 00:13:43,980 --> 00:13:46,310 And I have these more just to establish 252 00:13:46,310 --> 00:13:53,210 a groove for then the rest of you guys to do your thing over. 253 00:13:53,210 --> 00:13:54,135 But, yeah. 254 00:13:54,135 --> 00:13:58,410 As far as my hand signals go, if I point to you 255 00:13:58,410 --> 00:14:03,495 and I flash the number 1 or 2, that's just indicating the part 256 00:14:03,495 --> 00:14:04,370 you're going to play. 257 00:14:04,370 --> 00:14:06,220 So this is 1, this is 2. 258 00:14:06,220 --> 00:14:09,100 259 00:14:09,100 --> 00:14:10,170 And, yeah. 260 00:14:10,170 --> 00:14:13,255 So I'm basically going start layering you guys in one 261 00:14:13,255 --> 00:14:14,950 by one to establish this groove. 262 00:14:14,950 --> 00:14:16,290 Not necessarily all of you. 263 00:14:16,290 --> 00:14:18,320 Maybe just a few to get that going. 264 00:14:18,320 --> 00:14:22,000 And then, once that's started, I have these modes, just 265 00:14:22,000 --> 00:14:26,580 kind of like floozy kind of mode, written out here. 266 00:14:26,580 --> 00:14:29,710 And basically with that, if you're not playing the groove 267 00:14:29,710 --> 00:14:33,534 that I've laid down here, what you're going to be doing 268 00:14:33,534 --> 00:14:35,560 is watching for me to go like this with my fist. 269 00:14:35,560 --> 00:14:38,400 And that just means, pick a note, any note, in here. 270 00:14:38,400 --> 00:14:39,280 Just play that. 271 00:14:39,280 --> 00:14:43,583 So I'm going for short bursts or sound, I guess. 272 00:14:43,583 --> 00:14:46,000 If that makes sense. 273 00:14:46,000 --> 00:14:48,290 And yeah, that's basically it. 274 00:14:48,290 --> 00:14:51,490 I guess also, when I'm going like this, higher more intense, 275 00:14:51,490 --> 00:14:54,110 it's going to be a louder dynamic. 276 00:14:54,110 --> 00:14:57,504 Softer and lower is going to be-- 277 00:14:57,504 --> 00:14:59,045 AUDIENCE 3: How much trouble would it 278 00:14:59,045 --> 00:15:01,110 be for you to write those on the board? 279 00:15:01,110 --> 00:15:03,443 AUDIENCE 5: Actually, it wouldn't be any trouble at all. 280 00:15:03,443 --> 00:15:05,910 That makes a lot of sense. 281 00:15:05,910 --> 00:15:07,255 Yeah, so that's just about it. 282 00:15:07,255 --> 00:15:09,550 I'll write these down so you guys can see it. 283 00:15:09,550 --> 00:15:11,270 And, oh, yeah. 284 00:15:11,270 --> 00:15:14,910 The only other thing is, so, if you're not playing the groove, 285 00:15:14,910 --> 00:15:17,280 if you're picking a note in this mode 286 00:15:17,280 --> 00:15:20,400 I have here, if I go like this with my hand 287 00:15:20,400 --> 00:15:22,805 and I also go like this with my other hand, that's 288 00:15:22,805 --> 00:15:24,850 to indicate pitch. 289 00:15:24,850 --> 00:15:28,232 So if I were to go like something like this, 290 00:15:28,232 --> 00:15:32,120 this is indicating, pick a note, any note you want in here, 291 00:15:32,120 --> 00:15:35,024 and then as my hand goes down, descend in pitch. 292 00:15:35,024 --> 00:15:35,992 Ascend [INAUDIBLE]. 293 00:15:35,992 --> 00:15:38,870 294 00:15:38,870 --> 00:15:39,370 Yeah. 295 00:15:39,370 --> 00:15:42,307 Just, again, picking any note in here, just going up or down. 296 00:15:42,307 --> 00:15:49,590 297 00:15:49,590 --> 00:15:50,090 All right. 298 00:15:50,090 --> 00:15:50,250 Yeah. 299 00:15:50,250 --> 00:15:52,625 And then when I'm having you just pick any note you want, 300 00:15:52,625 --> 00:15:54,130 it's just any in here. 301 00:15:54,130 --> 00:15:56,630 All right. 302 00:15:56,630 --> 00:15:58,703 Does this all kind of make sense? 303 00:15:58,703 --> 00:16:00,795 AUDIENCE 3: Is that A, B, C? 304 00:16:00,795 --> 00:16:02,460 AUDIENCE 5: Ah, sorry. 305 00:16:02,460 --> 00:16:06,110 It's A, C, D, E, G. 306 00:16:06,110 --> 00:16:08,190 AUDIENCE 2: And the repeat happens once? 307 00:16:08,190 --> 00:16:10,022 AUDIENCE 5: Ah, the repeat happens-- it just continues. 308 00:16:10,022 --> 00:16:12,147 So every time we get there, we just repeat it back. 309 00:16:12,147 --> 00:16:14,276 Yep. 310 00:16:14,276 --> 00:16:15,260 All right. 311 00:16:15,260 --> 00:16:18,050 312 00:16:18,050 --> 00:16:21,530 So this would be-- if I point to you with 1, 313 00:16:21,530 --> 00:16:23,337 playing you're playing top. 314 00:16:23,337 --> 00:16:24,625 If 2, you're playing bottom. 315 00:16:24,625 --> 00:16:28,590 316 00:16:28,590 --> 00:16:30,590 AUDIENCE 1: And they should be in concert pitch? 317 00:16:30,590 --> 00:16:31,390 Right? 318 00:16:31,390 --> 00:16:34,010 AUDIENCE 5: Yep. 319 00:16:34,010 --> 00:16:34,785 All right. 320 00:16:34,785 --> 00:16:36,470 I guess we'll start with piano. 321 00:16:36,470 --> 00:16:39,392 322 00:16:39,392 --> 00:16:41,841 I'll have you play 1 to start with, I guess. 323 00:16:41,841 --> 00:16:42,340 All right. 324 00:16:42,340 --> 00:16:44,368 1, 2, 3-- 325 00:16:44,368 --> 00:16:46,848 [PIANO PLAYING] 326 00:16:46,848 --> 00:17:05,626 327 00:17:05,626 --> 00:17:08,614 [PIANO AND GUITAR PLAYING] 328 00:17:08,614 --> 00:17:17,578 329 00:17:17,578 --> 00:17:20,566 [PIANO, GUITAR, AND FLUTE PLAYING] 330 00:17:20,566 --> 00:18:44,207 331 00:18:44,207 --> 00:18:46,195 AUDIENCE 5: Keep going. 332 00:18:46,195 --> 00:18:48,633 If I point to you, you're going to improvise something 333 00:18:48,633 --> 00:18:49,674 on your own. [INAUDIBLE]. 334 00:18:49,674 --> 00:18:56,632 335 00:18:56,632 --> 00:18:59,614 [ALL INSTRUMENTS PLAYING] 336 00:18:59,614 --> 00:19:49,811 337 00:19:49,811 --> 00:19:54,320 [APPLAUSE] 338 00:19:54,320 --> 00:19:55,780 PROFESSOR: So, composer, conductor. 339 00:19:55,780 --> 00:19:57,705 What did you make of it? 340 00:19:57,705 --> 00:19:58,580 AUDIENCE 5: Ah, yeah. 341 00:19:58,580 --> 00:19:59,163 That was cool. 342 00:19:59,163 --> 00:20:02,280 I was kind of hoping to just establish a simple groove 343 00:20:02,280 --> 00:20:09,380 and then let it get more-- open up and have fun off of that. 344 00:20:09,380 --> 00:20:11,030 PROFESSOR: What was this again? 345 00:20:11,030 --> 00:20:13,570 AUDIENCE 5: So, this was supposed to be-- just, 346 00:20:13,570 --> 00:20:18,100 I laid down the notes in this floozy sounding note. 347 00:20:18,100 --> 00:20:20,910 And I just wanted people to pick any note in there 348 00:20:20,910 --> 00:20:24,929 and just play it in short bursts of sounds. 349 00:20:24,929 --> 00:20:26,220 PROFESSOR: Did people get that? 350 00:20:26,220 --> 00:20:27,580 AUDIENCE 1: It was really hard to do. 351 00:20:27,580 --> 00:20:27,985 AUDIENCE 5: Yeah. 352 00:20:27,985 --> 00:20:28,780 AUDIENCE 1: Because we didn't know 353 00:20:28,780 --> 00:20:30,960 how many times you were going to do this in a given-- 354 00:20:30,960 --> 00:20:31,350 AUDIENCE 5: Right. 355 00:20:31,350 --> 00:20:31,849 Yeah. 356 00:20:31,849 --> 00:20:35,440 The implementation was a little trickier than I thought. 357 00:20:35,440 --> 00:20:37,005 And also, I didn't tell you guys how 358 00:20:37,005 --> 00:20:39,485 I was going to, like, cue you to stop playing. 359 00:20:39,485 --> 00:20:42,246 But I think you caught on well enough for that. 360 00:20:42,246 --> 00:20:44,120 PROFESSOR: And also, you didn't mention this, 361 00:20:44,120 --> 00:20:46,544 did you, for the-- 362 00:20:46,544 --> 00:20:48,460 AUDIENCE 1: You mentioned it during the piece. 363 00:20:48,460 --> 00:20:48,940 PROFESSOR: Right. 364 00:20:48,940 --> 00:20:49,440 Right. 365 00:20:49,440 --> 00:20:50,153 That's all right. 366 00:20:50,153 --> 00:20:51,402 AUDIENCE 5: I'm working on it. 367 00:20:51,402 --> 00:20:54,130 PROFESSOR: But each of these constructs-- it's interesting, 368 00:20:54,130 --> 00:20:56,000 because you've clearly thought it out, 369 00:20:56,000 --> 00:20:58,390 which is part of a point of the assignment. 370 00:20:58,390 --> 00:21:01,775 But then it's clear that when you enact it, 371 00:21:01,775 --> 00:21:04,410 there are things that you hadn't thought about, 372 00:21:04,410 --> 00:21:07,600 which is like any laboratory experiment, I guess. 373 00:21:07,600 --> 00:21:11,516 And so, this is what you find out by doing it. 374 00:21:11,516 --> 00:21:12,890 And then the next time-- right?-- 375 00:21:12,890 --> 00:21:16,210 you would factor that kind of thing in. 376 00:21:16,210 --> 00:21:17,870 But I thought it worked really nice, 377 00:21:17,870 --> 00:21:23,420 and that tune is sort of like an African village kind of sound 378 00:21:23,420 --> 00:21:25,460 that I've heard in a number of things like this. 379 00:21:25,460 --> 00:21:26,340 So it was very nice. 380 00:21:26,340 --> 00:21:27,434 Very nice. 381 00:21:27,434 --> 00:21:28,350 Comments from players? 382 00:21:28,350 --> 00:21:32,350 Anybody's comments on that? 383 00:21:32,350 --> 00:21:33,760 Great groove. 384 00:21:33,760 --> 00:21:36,912 Great keeping of the groove. 385 00:21:36,912 --> 00:21:38,250 Good OK. 386 00:21:38,250 --> 00:21:40,270 Let's go to the next contestant. 387 00:21:40,270 --> 00:21:45,058 AUDIENCE 6: Basically, there's going 388 00:21:45,058 --> 00:21:47,812 to be five gestures that we're doing, 389 00:21:47,812 --> 00:21:50,530 and they're all on your paper and I will demonstrate them 390 00:21:50,530 --> 00:21:55,150 first so that you know what they are and they don't look weird. 391 00:21:55,150 --> 00:21:59,572 So, the first thing says, meditative. 392 00:21:59,572 --> 00:22:00,280 PROFESSOR: Great. 393 00:22:00,280 --> 00:22:02,262 Thank you. 394 00:22:02,262 --> 00:22:05,280 AUDIENCE 6: Which we're going to gesture by this, 395 00:22:05,280 --> 00:22:07,098 maybe a little more flipping. 396 00:22:07,098 --> 00:22:11,860 And it's supposed to kind of be a cue to the scale 397 00:22:11,860 --> 00:22:13,640 that Alex is writing on the board 398 00:22:13,640 --> 00:22:21,967 and the-- I guess a throwback to the Indian music 399 00:22:21,967 --> 00:22:25,755 that we sort of were exposed to early in the semester. 400 00:22:25,755 --> 00:22:27,880 PROFESSOR: Can I just ask-- this looks very Indian, 401 00:22:27,880 --> 00:22:28,380 this hand signal. 402 00:22:28,380 --> 00:22:29,190 AUDIENCE 6: Yeah. 403 00:22:29,190 --> 00:22:31,880 I wasn't trying-- well, I was trying. 404 00:22:31,880 --> 00:22:32,380 So, yeah. 405 00:22:32,380 --> 00:22:33,900 So that's why that's like that. 406 00:22:33,900 --> 00:22:38,577 Because it was a visual cue and hopefully an oral one also. 407 00:22:38,577 --> 00:22:40,160 AUDIENCE 5: And it's supposed to sound 408 00:22:40,160 --> 00:22:42,460 like Indian classical music? 409 00:22:42,460 --> 00:22:44,160 AUDIENCE 6: Yeah. 410 00:22:44,160 --> 00:22:45,176 Yes. 411 00:22:45,176 --> 00:22:45,875 Yes. 412 00:22:45,875 --> 00:22:46,375 Yes. 413 00:22:46,375 --> 00:22:47,041 AUDIENCE 5: Wow. 414 00:22:47,041 --> 00:22:48,900 OK. 415 00:22:48,900 --> 00:22:50,549 AUDIENCE 6: So, this improvisation's 416 00:22:50,549 --> 00:22:52,465 going to be a little more directed, obviously, 417 00:22:52,465 --> 00:22:56,090 because we're going to be in that frame of mine. 418 00:22:56,090 --> 00:23:00,820 The second thing is the hand wave, which is this. 419 00:23:00,820 --> 00:23:04,360 And that means to cycle/ undulation, 420 00:23:04,360 --> 00:23:09,680 so you can do whatever you want, but it needs to be repetitive. 421 00:23:09,680 --> 00:23:12,435 Waving fingers, that's this. 422 00:23:12,435 --> 00:23:14,765 It's a cascade of sound. 423 00:23:14,765 --> 00:23:17,250 Do what you will with it, as usual. 424 00:23:17,250 --> 00:23:24,610 The tempo will be given by just general conducting stuff. 425 00:23:24,610 --> 00:23:27,936 If we conduct high, then we would like you to play higher, 426 00:23:27,936 --> 00:23:30,310 and if you conduct low, then we'd like you to play lower. 427 00:23:30,310 --> 00:23:32,380 So, you can take off number six. 428 00:23:32,380 --> 00:23:34,805 The tempo is going to cover tempo and the range 429 00:23:34,805 --> 00:23:36,260 at the same time. 430 00:23:36,260 --> 00:23:42,180 And then dynamics is like, two hands louder, softer, shh. 431 00:23:42,180 --> 00:23:43,152 Obvious stuff. 432 00:23:43,152 --> 00:23:45,035 And getting cut off and whatnot. 433 00:23:45,035 --> 00:23:48,190 And we're actually going to split, I guess, 434 00:23:48,190 --> 00:23:53,172 the room in half, and one of the pianists can come with me. 435 00:23:53,172 --> 00:23:55,820 Alex and Ben are both going to conduct, 436 00:23:55,820 --> 00:23:57,665 and we're going to see how this turns out. 437 00:23:57,665 --> 00:23:58,010 AUDIENCE 5: Question. 438 00:23:58,010 --> 00:23:58,380 AUDIENCE 6: Yes? 439 00:23:58,380 --> 00:23:59,629 AUDIENCE 5: So that's a scale? 440 00:23:59,629 --> 00:24:00,800 AUDIENCE 6: That is a scale. 441 00:24:00,800 --> 00:24:01,425 AUDIENCE 5: OK. 442 00:24:01,425 --> 00:24:03,960 Why is there an A flat after an A natural if it's going up? 443 00:24:03,960 --> 00:24:05,280 AUDIENCE 7: I mean, it's not a scale. 444 00:24:05,280 --> 00:24:05,650 It's notes-- OK. 445 00:24:05,650 --> 00:24:06,750 AUDIENCE 5: It's a sequence of notes? 446 00:24:06,750 --> 00:24:07,244 AUDIENCE 7: Yes. 447 00:24:07,244 --> 00:24:08,285 It's a sequence of notes. 448 00:24:08,285 --> 00:24:09,800 AUDIENCE 6: It's a power scale. 449 00:24:09,800 --> 00:24:12,496 AUDIENCE 5: Is there an order to it, or is it just a sequence? 450 00:24:12,496 --> 00:24:14,037 AUDIENCE 7: No, there's not an order. 451 00:24:14,037 --> 00:24:14,514 AUDIENCE 6: Yeah. 452 00:24:14,514 --> 00:24:15,945 Just play it how you would like it. 453 00:24:15,945 --> 00:24:16,570 AUDIENCE 5: OK. 454 00:24:16,570 --> 00:24:19,284 AUDIENCE 6: But these are the notes. 455 00:24:19,284 --> 00:24:21,110 OK. 456 00:24:21,110 --> 00:24:23,422 This is my first time moving like this, too. 457 00:24:23,422 --> 00:24:28,450 So-- OK, I'll take Chris, I guess- 458 00:24:28,450 --> 00:24:30,430 AUDIENCE 7: Yeah, where are we splitting? 459 00:24:30,430 --> 00:24:32,905 Between [? Vanita ?] and AJ? 460 00:24:32,905 --> 00:24:33,895 OK. 461 00:24:33,895 --> 00:24:37,360 So, you four, and then you're taking Chris. 462 00:24:37,360 --> 00:24:39,340 AUDIENCE 6: Yeah. 463 00:24:39,340 --> 00:24:41,720 OK. 464 00:24:41,720 --> 00:24:47,615 I guess-- I'll also bring you guys in individually too. 465 00:24:47,615 --> 00:24:54,405 466 00:24:54,405 --> 00:24:57,670 [PIANO PLAYING] 467 00:24:57,670 --> 00:25:07,650 468 00:25:07,650 --> 00:25:11,143 [MANY INSTRUMENTS PLAYING] 469 00:25:11,143 --> 00:27:08,408 470 00:27:08,408 --> 00:27:11,402 [APPLAUSE] 471 00:27:11,402 --> 00:27:12,610 PROFESSOR: Very nice. 472 00:27:12,610 --> 00:27:13,620 Conductor, composers. 473 00:27:13,620 --> 00:27:16,090 What do you make of this which we just created? 474 00:27:16,090 --> 00:27:17,090 AUDIENCE 6: It was cool. 475 00:27:17,090 --> 00:27:18,620 AUDIENCE 7: It was like two pieces. 476 00:27:18,620 --> 00:27:19,590 It was awesome. 477 00:27:19,590 --> 00:27:20,821 AUDIENCE 6: Yeah. 478 00:27:20,821 --> 00:27:23,070 AUDIENCE 7: It was fun seeing the two different groups 479 00:27:23,070 --> 00:27:28,388 playing in the same scale, but playing [INAUDIBLE]. 480 00:27:28,388 --> 00:27:30,940 AUDIENCE 6: I completely forgot that-- I was in my head 481 00:27:30,940 --> 00:27:33,320 when I was-- when we were thinking about splitting, 482 00:27:33,320 --> 00:27:36,745 I was like, oh, I'm going to listen to what Alex is doing. 483 00:27:36,745 --> 00:27:38,186 And I completely did not. 484 00:27:38,186 --> 00:27:39,727 PROFESSOR: That was my next question. 485 00:27:39,727 --> 00:27:41,218 Right. 486 00:27:41,218 --> 00:27:42,332 AUDIENCE 6: Yeah. 487 00:27:42,332 --> 00:27:44,165 AUDIENCE 5: You were just having so much fun 488 00:27:44,165 --> 00:27:45,530 using us like marionettes. 489 00:27:45,530 --> 00:27:48,430 Like, you play this and you play that. 490 00:27:48,430 --> 00:27:49,884 [INTERPOSING VOICES] 491 00:27:49,884 --> 00:27:51,800 AUDIENCE 7: At first, I was just experimenting 492 00:27:51,800 --> 00:27:53,356 to see what I could do, and then I 493 00:27:53,356 --> 00:27:55,689 looked to see what she was doing and she was doing this, 494 00:27:55,689 --> 00:27:59,760 and then I was like, oh, wait, I'll do that to. 495 00:27:59,760 --> 00:28:01,230 AUDIENCE 6: That was interesting. 496 00:28:01,230 --> 00:28:03,688 PROFESSOR: That was completely different than anything else 497 00:28:03,688 --> 00:28:04,680 we've heard so far. 498 00:28:04,680 --> 00:28:05,620 Very different. 499 00:28:05,620 --> 00:28:08,940 Players, what are your comments? 500 00:28:08,940 --> 00:28:10,440 AUDIENCE 2: I really liked it. 501 00:28:10,440 --> 00:28:13,465 I think the only time-- well, I couldn't really 502 00:28:13,465 --> 00:28:15,050 hear you guys all that well. 503 00:28:15,050 --> 00:28:18,250 Like, I was really listening to James on the piano and guitar. 504 00:28:18,250 --> 00:28:22,030 But there was a point where you started going like this, 505 00:28:22,030 --> 00:28:24,860 and they were doing high-pitched things, so I heard that, 506 00:28:24,860 --> 00:28:27,110 and I was like, oh, I should try and blend in to this. 507 00:28:27,110 --> 00:28:29,800 So he was leading me on a tempo a little bit, 508 00:28:29,800 --> 00:28:32,400 so I sort of matched the tempo a little bit more to that, 509 00:28:32,400 --> 00:28:34,750 and it sort of sounded cool. 510 00:28:34,750 --> 00:28:36,920 PROFESSOR: So you were both watching the conductor 511 00:28:36,920 --> 00:28:40,772 and gravitating to other people, other sounds in the-- 512 00:28:40,772 --> 00:28:41,480 AUDIENCE 2: Yeah. 513 00:28:41,480 --> 00:28:44,214 I started gravitating over there a couple times. 514 00:28:44,214 --> 00:28:45,170 PROFESSOR: Yeah. 515 00:28:45,170 --> 00:28:46,336 AUDIENCE 3: I was impressed. 516 00:28:46,336 --> 00:28:50,686 I mean, I'm impressed by that. 517 00:28:50,686 --> 00:28:54,060 There was enough going on that it was hard to pay attention 518 00:28:54,060 --> 00:28:56,700 to anything but your conductor out of two, 519 00:28:56,700 --> 00:29:00,730 and the people maybe, like, immediately surrounding you. 520 00:29:00,730 --> 00:29:02,230 PROFESSOR: Well, I had the advantage 521 00:29:02,230 --> 00:29:04,130 of not having to play, so I got to hear it. 522 00:29:04,130 --> 00:29:04,960 It was great. 523 00:29:04,960 --> 00:29:07,640 It was really-- it was very interesting, textural. 524 00:29:07,640 --> 00:29:10,700 I mean, a number of you who have gone so far 525 00:29:10,700 --> 00:29:13,180 have talked about wanting to maybe lessen 526 00:29:13,180 --> 00:29:15,440 the density at some point or something like that, 527 00:29:15,440 --> 00:29:19,080 and that happened just because of whatever choices you made, 528 00:29:19,080 --> 00:29:20,990 and then however you folks responded. 529 00:29:20,990 --> 00:29:22,670 And probably, it's also a function 530 00:29:22,670 --> 00:29:26,420 that we've now been doing this for, what, maybe not 531 00:29:26,420 --> 00:29:28,260 exactly an hour, but maybe 40 minutes. 532 00:29:28,260 --> 00:29:31,960 So we're all becoming more in tune to what the concept is. 533 00:29:31,960 --> 00:29:34,355 So, it's very, very, very interesting. 534 00:29:34,355 --> 00:29:37,140 You know, there's modern dance groups as well as 535 00:29:37,140 --> 00:29:39,540 theatrical groups that do improvisation 536 00:29:39,540 --> 00:29:41,820 and that work also with musicians, and so you could 537 00:29:41,820 --> 00:29:45,310 definitely-- you could be the dancers. 538 00:29:45,310 --> 00:29:46,382 And then people respond-- 539 00:29:46,382 --> 00:29:47,840 AUDIENCE 7: This is it, right here. 540 00:29:47,840 --> 00:29:49,680 PROFESSOR: --certain motion and then back the other way 541 00:29:49,680 --> 00:29:50,190 and all that kind of thing. 542 00:29:50,190 --> 00:29:51,260 So, really good. 543 00:29:51,260 --> 00:29:52,444 Really good. 544 00:29:52,444 --> 00:29:54,610 AUDIENCE 1: The one thing I'd maybe change next time 545 00:29:54,610 --> 00:29:57,450 is some of that-- like, the waving fingers hand motion. 546 00:29:57,450 --> 00:30:00,160 When you did it, I forgot what it was completely and had 547 00:30:00,160 --> 00:30:03,090 to ignore you for the second and read it off the sheet. 548 00:30:03,090 --> 00:30:05,983 AUDIENCE 3: Also, I had no clue whether-- I stuck to that scale 549 00:30:05,983 --> 00:30:07,470 the whole time, because I didn't know what else-- 550 00:30:07,470 --> 00:30:08,360 what other scale to play. 551 00:30:08,360 --> 00:30:10,651 AUDIENCE 7: Yeah, and that's what we actually intended. 552 00:30:10,651 --> 00:30:13,645 We intended to start off with that, and then people 553 00:30:13,645 --> 00:30:15,760 to just generally play that throughout all 554 00:30:15,760 --> 00:30:19,189 of the [INAUDIBLE], yeah. 555 00:30:19,189 --> 00:30:20,230 AUDIENCE 6: Thanks, guys. 556 00:30:20,230 --> 00:30:21,150 AUDIENCE 1: Cool. 557 00:30:21,150 --> 00:30:23,110 Cool. 558 00:30:23,110 --> 00:30:24,569 And by the way, this-- I don't know 559 00:30:24,569 --> 00:30:26,026 if you guys had thought about this, 560 00:30:26,026 --> 00:30:27,740 but this arrangement of notes, this 561 00:30:27,740 --> 00:30:31,070 could be construed as what's called a pitch set, meaning 562 00:30:31,070 --> 00:30:33,700 it's not a specific scale, but it literally 563 00:30:33,700 --> 00:30:35,800 is a collection of pitches. 564 00:30:35,800 --> 00:30:37,070 And you can choose that. 565 00:30:37,070 --> 00:30:40,360 It sort of comes out of 12-tone method and that kind of thing. 566 00:30:40,360 --> 00:30:44,060 And you can choose to say-- what have you got there? 567 00:30:44,060 --> 00:30:48,910 You've got a nine-member pitch set. 568 00:30:48,910 --> 00:30:51,980 You could designate, play in a straightforward way, 569 00:30:51,980 --> 00:30:54,990 or take three notes or begin to manipulate 570 00:30:54,990 --> 00:30:55,990 those in different ways. 571 00:30:55,990 --> 00:30:58,010 So there's a lot of things you can do with that. 572 00:30:58,010 --> 00:31:00,570 In other words, each of these pieces we're hearing today, 573 00:31:00,570 --> 00:31:03,170 you could take the basic elements you've got 574 00:31:03,170 --> 00:31:04,370 and really work on it. 575 00:31:04,370 --> 00:31:06,800 You could probably spend an hour just doing 576 00:31:06,800 --> 00:31:09,690 sort of a workshop with each of these approaches, 577 00:31:09,690 --> 00:31:12,150 and then maybe do three or four pieces. 578 00:31:12,150 --> 00:31:14,340 And I'll bet each piece would be different. 579 00:31:14,340 --> 00:31:16,070 At least, that would be the ideal. 580 00:31:16,070 --> 00:31:16,570 OK. 581 00:31:16,570 --> 00:31:20,720 582 00:31:20,720 --> 00:31:22,238 AUDIENCE 8: So our idea was, we're 583 00:31:22,238 --> 00:31:25,280 actually going to focus more on the rhythmic aspect of what 584 00:31:25,280 --> 00:31:27,130 people are doing. 585 00:31:27,130 --> 00:31:29,106 And maybe the harmony and we'll come up 586 00:31:29,106 --> 00:31:31,520 with different melodies. 587 00:31:31,520 --> 00:31:36,771 So our way of giving an idea of what the rhythm will be-- so, 588 00:31:36,771 --> 00:31:39,585 let's say I'm starting off by the tempo, 589 00:31:39,585 --> 00:31:41,680 and then maybe if I want you to play eighth notes, 590 00:31:41,680 --> 00:31:42,846 I'll go, like, eighth notes. 591 00:31:42,846 --> 00:31:44,460 And so then this would mean you're 592 00:31:44,460 --> 00:31:46,080 playing eighth notes on some notes. 593 00:31:46,080 --> 00:31:48,149 We decided we're going to-- 594 00:31:48,149 --> 00:31:49,190 AUDIENCE 3: Two per beat? 595 00:31:49,190 --> 00:31:50,130 AUDIENCE 8: Yeah, so, two per beat. 596 00:31:50,130 --> 00:31:51,180 AUDIENCE 3: Two per beat. 597 00:31:51,180 --> 00:31:51,780 AUDIENCE 8: Or, like, four per beat. 598 00:31:51,780 --> 00:31:53,045 AUDIENCE 3: So, nothing slower than a quarter 599 00:31:53,045 --> 00:31:54,044 note is going to happen. 600 00:31:54,044 --> 00:31:54,794 AUDIENCE 8: No. 601 00:31:54,794 --> 00:31:55,770 AUDIENCE 3: OK. 602 00:31:55,770 --> 00:31:59,100 AUDIENCE 8: So, it's just kind of a guide for setting up 603 00:31:59,100 --> 00:32:00,750 the groove. 604 00:32:00,750 --> 00:32:03,620 And then we will bring people in and out for improv lines. 605 00:32:03,620 --> 00:32:06,350 AUDIENCE 3: So, if you, for example, hold up three, 606 00:32:06,350 --> 00:32:10,082 do we have to play three notes or can one of them be a rest? 607 00:32:10,082 --> 00:32:10,790 AUDIENCE 8: Yeah. 608 00:32:10,790 --> 00:32:11,380 So, yeah. 609 00:32:11,380 --> 00:32:13,870 You could play, like, a triplet, with one of them being a rest. 610 00:32:13,870 --> 00:32:14,240 Yeah. 611 00:32:14,240 --> 00:32:14,820 That's fine. 612 00:32:14,820 --> 00:32:17,170 The idea is just to give you an idea of the rhythm. 613 00:32:17,170 --> 00:32:19,660 Or so we could set up more complicated rhythms, 614 00:32:19,660 --> 00:32:22,130 like eighth note, quarter, quarter, eighth note, 615 00:32:22,130 --> 00:32:23,070 eighth note, quarter. 616 00:32:23,070 --> 00:32:25,670 AUDIENCE 3: Like, you'll have M on N for arbitrary M on N? 617 00:32:25,670 --> 00:32:27,250 Because you're going to be pointing at each person 618 00:32:27,250 --> 00:32:28,450 and putting up a different number. 619 00:32:28,450 --> 00:32:28,865 AUDIENCE 8: Yeah. 620 00:32:28,865 --> 00:32:29,490 AUDIENCE 3: OK. 621 00:32:29,490 --> 00:32:31,725 AUDIENCE 9: Also, so, just to clarify, only 622 00:32:31,725 --> 00:32:34,950 when you do that, it's only for that beat rather 623 00:32:34,950 --> 00:32:37,011 than a looping, infinite all the time. 624 00:32:37,011 --> 00:32:40,860 So, if it's like, two, nothing, two-- if that makes sense. 625 00:32:40,860 --> 00:32:41,735 AUDIENCE 8: Ba-ba-ba. 626 00:32:41,735 --> 00:32:42,390 Ba-ba-ba. 627 00:32:42,390 --> 00:32:43,374 Ba-ba-ba. 628 00:32:43,374 --> 00:32:45,705 Ba-ba-ba. 629 00:32:45,705 --> 00:32:46,330 AUDIENCE 3: OK. 630 00:32:46,330 --> 00:32:46,540 I'm dead. 631 00:32:46,540 --> 00:32:47,310 Yeah. 632 00:32:47,310 --> 00:32:48,170 AUDIENCE 8: But we never loop it. 633 00:32:48,170 --> 00:32:49,100 Does that makes sense? 634 00:32:49,100 --> 00:32:50,350 [INTERPOSING VOICES] 635 00:32:50,350 --> 00:32:55,457 636 00:32:55,457 --> 00:32:56,915 AUDIENCE 9: I guess the way I think 637 00:32:56,915 --> 00:32:59,520 about it is, it's like a way to sort of help push 638 00:32:59,520 --> 00:33:03,700 along organically coming out collectively. 639 00:33:03,700 --> 00:33:06,000 And the other thing that we were thinking about doing 640 00:33:06,000 --> 00:33:09,662 was, if we wanted to change the pitches of the groove 641 00:33:09,662 --> 00:33:13,250 at any point, we could, like-- I say somebody, 642 00:33:13,250 --> 00:33:16,364 and then the secret would be how many half steps. 643 00:33:16,364 --> 00:33:18,090 Say, two half steps. 644 00:33:18,090 --> 00:33:18,970 All right, up? 645 00:33:18,970 --> 00:33:21,840 Wait for it, now you shift up. 646 00:33:21,840 --> 00:33:27,599 So, going down, three half steps going down, go down. 647 00:33:27,599 --> 00:33:28,640 AUDIENCE 3: Sudden shift? 648 00:33:28,640 --> 00:33:30,014 Like, you go down on a chromatic? 649 00:33:30,014 --> 00:33:33,125 AUDIENCE 9: So I mean, it'll be in time. 650 00:33:33,125 --> 00:33:36,191 So you should be able to preempt when I'm going to do that. 651 00:33:36,191 --> 00:33:37,562 If that makes sense. 652 00:33:37,562 --> 00:33:40,555 Oh, and also, you're sort of encouraged 653 00:33:40,555 --> 00:33:44,900 to deviate from-- play outside the range of just, 654 00:33:44,900 --> 00:33:46,960 like, one note continuously. 655 00:33:46,960 --> 00:33:47,820 Obviously. 656 00:33:47,820 --> 00:33:51,350 AUDIENCE 8: So we're going to start on the D Dorian scale 657 00:33:51,350 --> 00:33:55,130 and, at some point, using the modulation, 658 00:33:55,130 --> 00:33:57,572 you might modulate up or down. 659 00:33:57,572 --> 00:33:59,988 AUDIENCE 3: Also, by the way-- I mean, this group's small. 660 00:33:59,988 --> 00:34:02,870 We just didn't want to have three different conductors. 661 00:34:02,870 --> 00:34:06,055 We were going to do the same thing that Tess and Alex did, 662 00:34:06,055 --> 00:34:07,025 of splitting in half. 663 00:34:07,025 --> 00:34:10,905 So, half is following Adrian, half is following Vinnie, 664 00:34:10,905 --> 00:34:13,116 but because we're doing modulations, 665 00:34:13,116 --> 00:34:15,048 you have to be paying attention. 666 00:34:15,048 --> 00:34:17,912 [? So, if anyone ?] wants a modulation-- 667 00:34:17,912 --> 00:34:18,912 AUDIENCE 8: [INAUDIBLE]. 668 00:34:18,912 --> 00:34:22,293 669 00:34:22,293 --> 00:34:23,318 AUDIENCE 9: OK. 670 00:34:23,318 --> 00:34:24,234 AUDIENCE 8: All right. 671 00:34:24,234 --> 00:34:27,290 672 00:34:27,290 --> 00:34:29,770 [PIANO PLAYING] 673 00:34:29,770 --> 00:34:37,400 674 00:34:37,400 --> 00:34:40,607 [PIANO AND SAX PLAYING] 675 00:34:40,607 --> 00:34:48,429 676 00:34:48,429 --> 00:34:50,630 [PIANO, SAX, AND FLUTE PLAYING] 677 00:34:50,630 --> 00:35:03,380 678 00:35:03,380 --> 00:35:06,368 [MANY INSTRUMENTS PLAYING] 679 00:35:06,368 --> 00:36:25,550 680 00:36:25,550 --> 00:36:28,040 AUDIENCE 8: [INAUDIBLE]. 681 00:36:28,040 --> 00:36:31,526 [MANY INSTRUMENTS PLAYING] 682 00:36:31,526 --> 00:37:19,874 683 00:37:19,874 --> 00:37:22,005 [APPLAUSE] 684 00:37:22,005 --> 00:37:22,880 PROFESSOR: Very nice. 685 00:37:22,880 --> 00:37:26,570 And again, completely different from what just preceded you 686 00:37:26,570 --> 00:37:27,820 and all the others. 687 00:37:27,820 --> 00:37:31,154 So, you're take on what worked and all that kind of thing. 688 00:37:31,154 --> 00:37:33,962 689 00:37:33,962 --> 00:37:37,570 AUDIENCE 9: It was a good way of keeping everyone together. 690 00:37:37,570 --> 00:37:39,410 I think it felt a little [INAUDIBLE]. 691 00:37:39,410 --> 00:37:42,080 AUDIENCE 8: It also felt a little too strict. 692 00:37:42,080 --> 00:37:44,040 AUDIENCE 9: It did feel strict. 693 00:37:44,040 --> 00:37:47,200 I was like-- so, when I did give people 694 00:37:47,200 --> 00:37:49,900 notes and things like that, I was 695 00:37:49,900 --> 00:37:53,730 kind of hoping that there would be more variation and stuff, 696 00:37:53,730 --> 00:37:55,708 even if I said da-da-da. 697 00:37:55,708 --> 00:37:57,666 And then I went [? on to move ?] somebody else, 698 00:37:57,666 --> 00:38:01,100 that they would sort of play around with it. 699 00:38:01,100 --> 00:38:06,064 But I guess maybe it was a bit strict system in itself. 700 00:38:06,064 --> 00:38:07,480 PROFESSOR: So if you did it again, 701 00:38:07,480 --> 00:38:09,369 you might build in something about taking 702 00:38:09,369 --> 00:38:10,285 a little more liberty? 703 00:38:10,285 --> 00:38:10,993 AUDIENCE 8: Yeah. 704 00:38:10,993 --> 00:38:14,165 705 00:38:14,165 --> 00:38:16,290 PROFESSOR: I thought it was very, very interesting. 706 00:38:16,290 --> 00:38:17,090 Really interesting. 707 00:38:17,090 --> 00:38:20,360 And it was a rhythmic thing, obviously, 708 00:38:20,360 --> 00:38:21,780 but became a color field. 709 00:38:21,780 --> 00:38:23,744 I don't know if anybody else sensed this. 710 00:38:23,744 --> 00:38:25,660 Because of the different tambers, particularly 711 00:38:25,660 --> 00:38:26,160 over here. 712 00:38:26,160 --> 00:38:29,762 We have muted trumpet and oboe, flute, obviously, 713 00:38:29,762 --> 00:38:31,220 and then the strings and the piano. 714 00:38:31,220 --> 00:38:34,510 I mean, you would around, and when you shifted sometimes, 715 00:38:34,510 --> 00:38:36,180 the combination effect-- in other words, 716 00:38:36,180 --> 00:38:38,679 the relationship to whoever else was playing, whatever other 717 00:38:38,679 --> 00:38:41,370 pitch-- because you're getting sort 718 00:38:41,370 --> 00:38:43,920 of a different version of overtones 719 00:38:43,920 --> 00:38:46,560 or relationship that way. 720 00:38:46,560 --> 00:38:48,370 So I thought it was very interesting. 721 00:38:48,370 --> 00:38:50,170 Do you guys know the Terry Riley. 722 00:38:50,170 --> 00:38:52,300 Piece called "In C"? 723 00:38:52,300 --> 00:38:53,410 You know that? 724 00:38:53,410 --> 00:38:54,620 It's very much like this. 725 00:38:54,620 --> 00:38:57,670 We have a recording and Evan Ziporyn did a version of this 726 00:38:57,670 --> 00:39:00,170 not too long ago on one of these many concerts going on 727 00:39:00,170 --> 00:39:02,170 in the spring, and it's basically-- 728 00:39:02,170 --> 00:39:05,540 the pitch is C, that's it. 729 00:39:05,540 --> 00:39:08,147 But there's about 30-some little fragments. 730 00:39:08,147 --> 00:39:10,230 Sort of like what you were doing, but written out. 731 00:39:10,230 --> 00:39:13,028 Little fragments like da-da-da-da, da-da-da, 732 00:39:13,028 --> 00:39:14,590 and then that kind of a thing. 733 00:39:14,590 --> 00:39:18,260 And so you sort of evolve a group mind, 734 00:39:18,260 --> 00:39:19,870 and then you can expand it. 735 00:39:19,870 --> 00:39:23,740 I think it's a variable duration as to what happens, 736 00:39:23,740 --> 00:39:25,290 but you're thinking, in other words, 737 00:39:25,290 --> 00:39:27,094 is very much in that ballpark. 738 00:39:27,094 --> 00:39:28,510 So you might want to check it out. 739 00:39:28,510 --> 00:39:32,060 Just Terry Riley, like sounds, R-I-L-E-Y, "In C." 740 00:39:32,060 --> 00:39:33,790 It's very, very cool. 741 00:39:33,790 --> 00:39:34,760 Very cool piece. 742 00:39:34,760 --> 00:39:35,420 Very nice. 743 00:39:35,420 --> 00:39:36,930 Very nice. 744 00:39:36,930 --> 00:39:37,950 Great. 745 00:39:37,950 --> 00:39:38,700 This is wonderful. 746 00:39:38,700 --> 00:39:39,616 This is great variety. 747 00:39:39,616 --> 00:39:41,530 This is fantastic. 748 00:39:41,530 --> 00:39:42,750 Somebody else. 749 00:39:42,750 --> 00:39:45,250 AUDIENCE 10: So, I actually made a bunch of different things 750 00:39:45,250 --> 00:39:45,880 possibly-- oh, sorry. 751 00:39:45,880 --> 00:39:47,320 PROFESSOR: Sorry, sorry, sorry. 752 00:39:47,320 --> 00:39:49,069 AUDIENCE 10: --a bunch of different things 753 00:39:49,069 --> 00:39:56,400 to possibly do, including I guess a sort of riff. 754 00:39:56,400 --> 00:40:01,560 So, for the first one, the one is rhythmic pulses in tempo, 755 00:40:01,560 --> 00:40:04,680 and watch for the tempo. 756 00:40:04,680 --> 00:40:06,440 So just-- you can play notes, feel 757 00:40:06,440 --> 00:40:09,555 free to switch between two or three notes or just 758 00:40:09,555 --> 00:40:11,150 a single note. 759 00:40:11,150 --> 00:40:13,400 That's up to you. 760 00:40:13,400 --> 00:40:17,445 Two is a lyrical legato playing, sort of continuous. 761 00:40:17,445 --> 00:40:19,320 AUDIENCE 3: Can you write these on the board? 762 00:40:19,320 --> 00:40:20,420 AUDIENCE 10: Sure. 763 00:40:20,420 --> 00:40:26,475 Then I actually had a drawing. 764 00:40:26,475 --> 00:40:39,610 765 00:40:39,610 --> 00:40:41,460 Can everyone see that? 766 00:40:41,460 --> 00:40:42,990 Does everyone got it? 767 00:40:42,990 --> 00:40:50,190 So I guess I was going to start with the piano on five. 768 00:40:50,190 --> 00:40:51,450 So, yeah. 769 00:40:51,450 --> 00:40:54,365 And it's up to you to interpret the tempo of how it's played. 770 00:40:54,365 --> 00:40:55,740 I just drew them as quarter notes 771 00:40:55,740 --> 00:40:58,720 because you can see the notes that way. 772 00:40:58,720 --> 00:41:01,480 So. 773 00:41:01,480 --> 00:41:03,751 [PIANO PLAYING] 774 00:41:03,751 --> 00:41:37,850 775 00:41:37,850 --> 00:41:40,850 [MANY INSTRUMENTS PLAYING] 776 00:41:40,850 --> 00:43:13,850 777 00:43:13,850 --> 00:43:15,975 [APPLAUSE] 778 00:43:15,975 --> 00:43:16,850 PROFESSOR: Very nice. 779 00:43:16,850 --> 00:43:19,470 Conductor, composer, what did you feel? 780 00:43:19,470 --> 00:43:22,100 AUDIENCE 10: So, I actually had nine different things that 781 00:43:22,100 --> 00:43:24,250 sort of just broke down, and then I 782 00:43:24,250 --> 00:43:28,742 guess given the atmosphere that I've been feeling from everyone 783 00:43:28,742 --> 00:43:31,200 else with the small amount, I decided to pick a few of them 784 00:43:31,200 --> 00:43:33,210 to put on the board for everyone to look at. 785 00:43:33,210 --> 00:43:36,210 Because I only made one copy. 786 00:43:36,210 --> 00:43:39,970 So, I guess just this, if anyone recognized it, 787 00:43:39,970 --> 00:43:44,060 is actually-- it's the very first part of Jimmy Page's solo 788 00:43:44,060 --> 00:43:45,440 from "Stairway to Heaven." 789 00:43:45,440 --> 00:43:48,940 I guess I was feeling that yesterday. 790 00:43:48,940 --> 00:43:51,210 But, yeah. 791 00:43:51,210 --> 00:43:55,329 PROFESSOR: It was very nice, and you, as all the conductors, 792 00:43:55,329 --> 00:43:56,620 you're getting very expressive. 793 00:43:56,620 --> 00:43:58,170 It's wonderful to see this. 794 00:43:58,170 --> 00:44:01,490 I mean, you guys could be part of a dance troupe. 795 00:44:01,490 --> 00:44:03,940 I mean, we could call this a musical dance troupe 796 00:44:03,940 --> 00:44:06,450 and you could masquerade and go out and do something 797 00:44:06,450 --> 00:44:08,440 in the spring time, you know, whatever. 798 00:44:08,440 --> 00:44:08,940 But, no. 799 00:44:08,940 --> 00:44:10,280 It was very, very nice. 800 00:44:10,280 --> 00:44:13,850 And everybody's got their own particular way of doing this. 801 00:44:13,850 --> 00:44:15,610 It's very interesting how that worked out. 802 00:44:15,610 --> 00:44:17,590 Plus, this is the first little thing 803 00:44:17,590 --> 00:44:21,190 we've had on the board or musical thing that's gone down. 804 00:44:21,190 --> 00:44:22,357 All the others have gone up. 805 00:44:22,357 --> 00:44:24,231 So, I don't know, maybe it's the time of day, 806 00:44:24,231 --> 00:44:25,780 but now we're going with Jimmy Page. 807 00:44:25,780 --> 00:44:29,030 But now we're all descending, you know, sort of ideas. 808 00:44:29,030 --> 00:44:29,760 Very nice. 809 00:44:29,760 --> 00:44:31,560 Players, comments on this piece. 810 00:44:31,560 --> 00:44:36,330 811 00:44:36,330 --> 00:44:40,150 Everybody played-- I thought-- followed you very, very nicely. 812 00:44:40,150 --> 00:44:42,544 AUDIENCE 10: Tried to keep things pretty simple. 813 00:44:42,544 --> 00:44:43,210 PROFESSOR: Yeah. 814 00:44:43,210 --> 00:44:45,170 A useful approach. 815 00:44:45,170 --> 00:44:46,640 AUDIENCE 11: OK. 816 00:44:46,640 --> 00:44:51,175 This is kind of based on a really nasty thunderstorm, 817 00:44:51,175 --> 00:44:54,150 so you can keep that in mind while you're playing. 818 00:44:54,150 --> 00:44:56,640 And the parts are numbered 8, 9, and 10, 819 00:44:56,640 --> 00:45:00,140 because I wrote a bunch of parts but I like these the best. 820 00:45:00,140 --> 00:45:04,060 So, there's going to be some free interpretation here. 821 00:45:04,060 --> 00:45:06,680 We're going to start out with a summer day 822 00:45:06,680 --> 00:45:10,640 with kind of clouds floating sparsely was my image. 823 00:45:10,640 --> 00:45:15,890 So everybody can kind of play something pretty. 824 00:45:15,890 --> 00:45:21,920 Key of F major So just like play pretty notes 825 00:45:21,920 --> 00:45:24,460 in the key of F major. 826 00:45:24,460 --> 00:45:26,170 Make it kind of sparse. 827 00:45:26,170 --> 00:45:29,680 And when I do this, that means just play, like, 828 00:45:29,680 --> 00:45:31,960 a really ugly high note. 829 00:45:31,960 --> 00:45:35,206 Because that's like lightning off in the storm. 830 00:45:35,206 --> 00:45:37,750 The beginning of things being ugly. 831 00:45:37,750 --> 00:45:41,230 And then when I do two, then you're 832 00:45:41,230 --> 00:45:43,561 going to switch to 9 because that's 833 00:45:43,561 --> 00:45:47,410 the same [? chord ?] and just play these notes. 834 00:45:47,410 --> 00:45:49,903 I kind of have two parts, sort of. 835 00:45:49,903 --> 00:45:52,278 AUDIENCE 3: Why don't you just renumber them 1, 2, and 3? 836 00:45:52,278 --> 00:45:52,778 OK. 837 00:45:52,778 --> 00:45:54,890 AUDIENCE 11: I can-- whatever. 838 00:45:54,890 --> 00:45:55,976 It's an order. 839 00:45:55,976 --> 00:45:56,968 AUDIENCE 3: Anything you can do to simplify 840 00:45:56,968 --> 00:45:57,960 that would be appreciated. 841 00:45:57,960 --> 00:45:58,626 AUDIENCE 11: OK. 842 00:45:58,626 --> 00:45:59,448 I'll renumber it. 843 00:45:59,448 --> 00:46:10,856 844 00:46:10,856 --> 00:46:12,370 OK. 845 00:46:12,370 --> 00:46:14,270 So, this is just going to be ugly. 846 00:46:14,270 --> 00:46:17,075 Play all the ugliest notes that you can find 847 00:46:17,075 --> 00:46:22,020 and the theme can kind of be this flow. 848 00:46:22,020 --> 00:46:29,190 And then I'll use this to slow down and speed up. 849 00:46:29,190 --> 00:46:32,964 So I'll eventually slow down, and then we'll come into this 850 00:46:32,964 --> 00:46:34,130 and it's like, I don't know. 851 00:46:34,130 --> 00:46:38,756 It's a really destructive storm, so it's kind of melancholy. 852 00:46:38,756 --> 00:46:39,720 Yeah. 853 00:46:39,720 --> 00:46:40,220 OK. 854 00:46:40,220 --> 00:46:43,148 855 00:46:43,148 --> 00:46:47,052 And this means start. 856 00:46:47,052 --> 00:46:49,004 [WHISTLING] 857 00:46:49,004 --> 00:46:51,040 AUDIENCE 11: OK. 858 00:46:51,040 --> 00:46:54,435 [MANY INSTRUMENTS PLAYING] 859 00:46:54,435 --> 00:48:28,957 860 00:48:28,957 --> 00:48:31,951 [APPLAUSE] 861 00:48:31,951 --> 00:48:33,750 PROFESSOR: Very nice. 862 00:48:33,750 --> 00:48:36,220 So, composer, conductor, what are your thoughts on what 863 00:48:36,220 --> 00:48:38,271 happened? 864 00:48:38,271 --> 00:48:40,062 AUDIENCE 11: It was a little less organized 865 00:48:40,062 --> 00:48:44,600 than I expected, which is definitely my fault. 866 00:48:44,600 --> 00:48:48,330 But it was cool. 867 00:48:48,330 --> 00:48:50,190 PROFESSOR: So how would you adjust 868 00:48:50,190 --> 00:48:54,070 that in another performance? 869 00:48:54,070 --> 00:48:57,510 AUDIENCE 11: I guess I would make-- because I kind of had 870 00:48:57,510 --> 00:49:00,205 the idea of having these parts coinciding 871 00:49:00,205 --> 00:49:02,840 to some extent, at least in the beginning. 872 00:49:02,840 --> 00:49:06,892 So I would probably make it be like that at the beginning 873 00:49:06,892 --> 00:49:09,272 and make more of a beat. 874 00:49:09,272 --> 00:49:11,176 Yeah. 875 00:49:11,176 --> 00:49:13,080 PROFESSOR: Oh, so have a rhythmic structure. 876 00:49:13,080 --> 00:49:14,163 AUDIENCE 11: A little bit. 877 00:49:14,163 --> 00:49:15,052 Yeah. 878 00:49:15,052 --> 00:49:17,510 PROFESSOR: Now, what's the-- because some of your notation, 879 00:49:17,510 --> 00:49:19,670 there's notes occurring simultaneously. 880 00:49:19,670 --> 00:49:21,186 What was the idea behind that? 881 00:49:21,186 --> 00:49:23,616 AUDIENCE 11: That was kind of like the parts 882 00:49:23,616 --> 00:49:26,032 that should occur together. 883 00:49:26,032 --> 00:49:26,532 Yeah. 884 00:49:26,532 --> 00:49:27,018 AUDIENCE 11: Oh, OK. 885 00:49:27,018 --> 00:49:28,962 AUDIENCE 11: So if it was more rhythmic, 886 00:49:28,962 --> 00:49:32,370 it would be like those occur together, and those and these. 887 00:49:32,370 --> 00:49:35,055 PROFESSOR: I liked all the visual-- the bursts 888 00:49:35,055 --> 00:49:35,820 [INAUDIBLE]. 889 00:49:35,820 --> 00:49:37,640 And this is almost like an accordion sort 890 00:49:37,640 --> 00:49:38,747 of an idea or something. 891 00:49:38,747 --> 00:49:39,246 Yeah. 892 00:49:39,246 --> 00:49:40,620 Very good. 893 00:49:40,620 --> 00:49:41,130 Players. 894 00:49:41,130 --> 00:49:42,060 Comments on this? 895 00:49:42,060 --> 00:49:44,740 896 00:49:44,740 --> 00:49:46,609 Easy to follow? 897 00:49:46,609 --> 00:49:48,900 Seemed like it was, you know, because you're directing, 898 00:49:48,900 --> 00:49:49,983 I mean, you're conducting. 899 00:49:49,983 --> 00:49:55,700 You're really giving pretty specific signals. 900 00:49:55,700 --> 00:49:56,560 Very nice. 901 00:49:56,560 --> 00:50:01,176 Do you all know the Beethoven's Sixth Symphony? 902 00:50:01,176 --> 00:50:03,560 By now, you should know it if you don't know it. 903 00:50:03,560 --> 00:50:05,470 The middle movement is a storm. 904 00:50:05,470 --> 00:50:08,515 It's a quiet day, like you're describing, 905 00:50:08,515 --> 00:50:11,820 and you even hear the sounds of birds that whistle or whatever. 906 00:50:11,820 --> 00:50:14,680 And then you hear a thunder with a timpani coming in, 907 00:50:14,680 --> 00:50:16,450 and the thunder in a storm. 908 00:50:16,450 --> 00:50:18,900 And I-- one time, I was at Tanglewood listening 909 00:50:18,900 --> 00:50:21,920 to the BSO, and they played this. 910 00:50:21,920 --> 00:50:24,270 And this is an honest-to-god true story. 911 00:50:24,270 --> 00:50:28,040 As that movement came up and the storm clouds threatened, 912 00:50:28,040 --> 00:50:31,510 this huge, black, storm cloud came over 913 00:50:31,510 --> 00:50:34,320 and it started to rain, and then it 914 00:50:34,320 --> 00:50:37,610 stopped exactly as the movement ended. 915 00:50:37,610 --> 00:50:39,830 And it went on to the next. 916 00:50:39,830 --> 00:50:41,315 So make of that what you will. 917 00:50:41,315 --> 00:50:44,306 But it was a very interesting experience, shall we say, 918 00:50:44,306 --> 00:50:47,310 on the lawn of Tanglewood. 919 00:50:47,310 --> 00:50:51,812 Maybe you're channeling Beethoven here a little bit 920 00:50:51,812 --> 00:50:52,710 or something. 921 00:50:52,710 --> 00:50:54,668 AUDIENCE 3: So this piece is called "Birthday," 922 00:50:54,668 --> 00:50:58,960 and I feel like one of these real jazz people 923 00:50:58,960 --> 00:51:02,710 because I did the following. 924 00:51:02,710 --> 00:51:05,344 So, oh-- do you have some way of standing there. 925 00:51:05,344 --> 00:51:06,260 You can just take one. 926 00:51:06,260 --> 00:51:08,560 There's an extra. 927 00:51:08,560 --> 00:51:09,910 And so I said the following. 928 00:51:09,910 --> 00:51:13,590 Let M be the number of the month of your birthday. 929 00:51:13,590 --> 00:51:18,149 And then there are things in the parts that depend on it. 930 00:51:18,149 --> 00:51:19,815 So, for example, I was born in November. 931 00:51:19,815 --> 00:51:20,880 M is 11. 932 00:51:20,880 --> 00:51:24,690 And I'll say things like, transpose this part up 933 00:51:24,690 --> 00:51:25,630 in half steps. 934 00:51:25,630 --> 00:51:28,950 935 00:51:28,950 --> 00:51:32,440 So, we're not going to do number 5. 936 00:51:32,440 --> 00:51:35,010 Number 5 involves you singing, and it's really hard 937 00:51:35,010 --> 00:51:37,510 to sing in key together. 938 00:51:37,510 --> 00:51:44,670 So instead, we're going to do just-- 939 00:51:44,670 --> 00:51:47,750 so I have numbers 1, 2, 3 and 4. 940 00:51:47,750 --> 00:51:50,186 They're the four, let's say, phrases of the happy birthday 941 00:51:50,186 --> 00:51:50,685 song. 942 00:51:50,685 --> 00:51:54,225 And they're in whatever key is appropriate to your birthday 943 00:51:54,225 --> 00:51:54,725 month. 944 00:51:54,725 --> 00:51:57,290 945 00:51:57,290 --> 00:52:00,730 I'll cue them with just numbers 1, 2, 3, 4. 946 00:52:00,730 --> 00:52:03,402 947 00:52:03,402 --> 00:52:05,610 And it, again, cues that apply to individual people-- 948 00:52:05,610 --> 00:52:07,485 or, like, if I want to cue a group of people, 949 00:52:07,485 --> 00:52:09,880 I'll do like this and then I'll say number 2 or whatever. 950 00:52:09,880 --> 00:52:11,380 And, keep in mind, you'll be playing 951 00:52:11,380 --> 00:52:13,517 in different keys, which is good. 952 00:52:13,517 --> 00:52:15,350 And I don't want you to play simultaneously. 953 00:52:15,350 --> 00:52:18,520 I want you to play somewhat chaotically out of sync. 954 00:52:18,520 --> 00:52:33,260 So the cues are-- OK, so. 955 00:52:33,260 --> 00:52:33,760 Number. 956 00:52:33,760 --> 00:52:36,082 957 00:52:36,082 --> 00:52:36,790 Self-explanatory. 958 00:52:36,790 --> 00:52:38,910 It's on the sheet. 959 00:52:38,910 --> 00:52:41,652 Another cue I'll have is this. 960 00:52:41,652 --> 00:52:43,360 This doesn't mean do a shake or anything. 961 00:52:43,360 --> 00:52:45,360 This means play chaotically. 962 00:52:45,360 --> 00:52:47,570 This means play something that isn't written down 963 00:52:47,570 --> 00:52:48,955 that sounds crazy. 964 00:52:48,955 --> 00:52:54,418 965 00:52:54,418 --> 00:53:03,620 Shake hands equals chaos. 966 00:53:03,620 --> 00:53:08,200 And then the other thing that I'll do is this. 967 00:53:08,200 --> 00:53:10,100 So, this does not mean play the same note. 968 00:53:10,100 --> 00:53:13,370 969 00:53:13,370 --> 00:53:19,830 This means play, well-- it means play a sustained note, 970 00:53:19,830 --> 00:53:21,580 and then a couple seconds later, change it 971 00:53:21,580 --> 00:53:23,830 to some other sustained note, approximately at random. 972 00:53:23,830 --> 00:53:25,930 It should be approximately at random. 973 00:53:25,930 --> 00:53:38,298 So level hand motion means play a series of sustained notes. 974 00:53:38,298 --> 00:53:49,170 975 00:53:49,170 --> 00:53:55,264 And the last gesture I'll use is the flexology chord gesture, 976 00:53:55,264 --> 00:53:55,930 where I do this. 977 00:53:55,930 --> 00:53:57,763 Where I, like, sweep my hand back and forth. 978 00:53:57,763 --> 00:53:59,518 It means play a chord. 979 00:53:59,518 --> 00:54:00,018 Together. 980 00:54:00,018 --> 00:54:07,906 981 00:54:07,906 --> 00:54:09,878 OK. 982 00:54:09,878 --> 00:54:12,836 So, that's what I got. 983 00:54:12,836 --> 00:54:17,300 984 00:54:17,300 --> 00:54:18,100 Sound good? 985 00:54:18,100 --> 00:54:19,418 Any questions or any comments? 986 00:54:19,418 --> 00:54:22,904 987 00:54:22,904 --> 00:54:24,398 I guess I'll cue you in. 988 00:54:24,398 --> 00:54:30,374 989 00:54:30,374 --> 00:54:33,860 [MANY INSTRUMENTS PLAYING] 990 00:54:33,860 --> 00:56:07,982 991 00:56:07,982 --> 00:56:10,881 [APPLAUSE] 992 00:56:10,881 --> 00:56:12,256 PROFESSOR: I didn't know what you 993 00:56:12,256 --> 00:56:13,010 were going to do at the end. 994 00:56:13,010 --> 00:56:14,250 I didn't know if you were getting ready to-- 995 00:56:14,250 --> 00:56:16,154 AUDIENCE 3: I was thinking about doing something else, 996 00:56:16,154 --> 00:56:17,582 but I figured no one would follow 997 00:56:17,582 --> 00:56:19,305 because they assumed I was done. 998 00:56:19,305 --> 00:56:20,180 PROFESSOR: Very nice. 999 00:56:20,180 --> 00:56:23,256 So, your impressions of how this all worked. 1000 00:56:23,256 --> 00:56:24,630 AUDIENCE 3: That was pretty hard. 1001 00:56:24,630 --> 00:56:28,684 I knew it would be hard to be clear in front 1002 00:56:28,684 --> 00:56:30,260 of different people. 1003 00:56:30,260 --> 00:56:31,050 It was. 1004 00:56:31,050 --> 00:56:33,401 Also, no one ended up doing-- I cued 1005 00:56:33,401 --> 00:56:34,692 a bunch of people for number 3. 1006 00:56:34,692 --> 00:56:37,380 I didn't, I think, hear anyone doing the alternative. 1007 00:56:37,380 --> 00:56:38,220 So I have cases. 1008 00:56:38,220 --> 00:56:39,902 If M is even, you play, you know, 1009 00:56:39,902 --> 00:56:43,340 (SINGING) happy birthday dear-- something. 1010 00:56:43,340 --> 00:56:45,640 And then if M is odd, you'd go the other way. 1011 00:56:45,640 --> 00:56:47,600 I can't even do this. 1012 00:56:47,600 --> 00:56:49,684 (SINGING) Happy birthday to whatever. 1013 00:56:49,684 --> 00:56:50,517 Something like that. 1014 00:56:50,517 --> 00:56:53,926 1015 00:56:53,926 --> 00:56:56,790 That would've been cool. 1016 00:56:56,790 --> 00:56:58,265 PROFESSOR: So in another iteration, 1017 00:56:58,265 --> 00:56:59,931 and then we're going to have to move on, 1018 00:56:59,931 --> 00:57:02,470 in another iteration people would actually 1019 00:57:02,470 --> 00:57:04,560 have to sort of study this a little bit more. 1020 00:57:04,560 --> 00:57:06,950 Because I saw Brian, you were cued 2, 1021 00:57:06,950 --> 00:57:09,140 and you were looking to see what's 2. 1022 00:57:09,140 --> 00:57:11,430 Because we're getting a lot of material very fast 1023 00:57:11,430 --> 00:57:12,816 this afternoon. 1024 00:57:12,816 --> 00:57:14,440 But you would do just like you practice 1025 00:57:14,440 --> 00:57:15,740 for a piece that's written out. 1026 00:57:15,740 --> 00:57:18,040 You would really have to know what the cues were. 1027 00:57:18,040 --> 00:57:20,248 AUDIENCE 3: I guess I was hoping that the familiarity 1028 00:57:20,248 --> 00:57:21,882 with this melody would help. 1029 00:57:21,882 --> 00:57:22,590 PROFESSOR: Right. 1030 00:57:22,590 --> 00:57:23,498 AUDIENCE 3: It probably did. 1031 00:57:23,498 --> 00:57:24,414 But still, it's a lot. 1032 00:57:24,414 --> 00:57:27,130 PROFESSOR: It was there in the background. 1033 00:57:27,130 --> 00:57:28,530 OK, so two more. 1034 00:57:28,530 --> 00:57:35,815 AUDIENCE 13: So there's six new reference material that'll 1035 00:57:35,815 --> 00:57:39,910 just be basic framework material that I tried to at least 1036 00:57:39,910 --> 00:57:43,210 transcribe to the order of numbers in [INAUDIBLE]. 1037 00:57:43,210 --> 00:57:48,660 So these first two are just these very simple patterns. 1038 00:57:48,660 --> 00:57:52,780 Definitely not very strict, or not 1039 00:57:52,780 --> 00:57:56,200 required to be very to the transcription. 1040 00:57:56,200 --> 00:57:59,972 But just as a starting point for the improvisation. 1041 00:57:59,972 --> 00:58:02,770 And so I would maybe take that with ones or twos. 1042 00:58:02,770 --> 00:58:06,550 1043 00:58:06,550 --> 00:58:08,550 And then the rest are graphical notations, 1044 00:58:08,550 --> 00:58:10,480 so three is kind of like a trio above. 1045 00:58:10,480 --> 00:58:13,480 It's the same thing for the rest of these patters. 1046 00:58:13,480 --> 00:58:15,452 Five and six have their own patterns, 1047 00:58:15,452 --> 00:58:17,192 so interpret those as you will. 1048 00:58:17,192 --> 00:58:18,900 So those will just be the number signals, 1049 00:58:18,900 --> 00:58:20,980 and if I point at you or point at a section, 1050 00:58:20,980 --> 00:58:23,020 use those numbers, that's probably 1051 00:58:23,020 --> 00:58:24,540 what you'll want to do. 1052 00:58:24,540 --> 00:58:29,500 And then some other signals that I was interested in using 1053 00:58:29,500 --> 00:58:31,020 is this. 1054 00:58:31,020 --> 00:58:33,556 Bringing hands together like using a [INAUDIBLE] 1055 00:58:33,556 --> 00:58:36,680 would be like making what you're doing simpler 1056 00:58:36,680 --> 00:58:39,500 or adding more space to what you're using. 1057 00:58:39,500 --> 00:58:41,419 Where the opposite like this would 1058 00:58:41,419 --> 00:58:43,600 be making it more complicated. 1059 00:58:43,600 --> 00:58:48,110 I'll just do some very intuitive, dynamic markings, 1060 00:58:48,110 --> 00:58:48,920 too. 1061 00:58:48,920 --> 00:58:50,755 And yeah. 1062 00:58:50,755 --> 00:58:53,270 Anything else should be fairly intuitive. 1063 00:58:53,270 --> 00:58:55,360 So is everyone good with that? 1064 00:58:55,360 --> 00:59:04,822 1065 00:59:04,822 --> 00:59:08,308 [PIANO PLAYING] 1066 00:59:08,308 --> 00:59:11,794 [PIANO AND SAX PLAYING] 1067 00:59:11,794 --> 00:59:21,256 1068 00:59:21,256 --> 00:59:24,244 [MANY INSTRUMENTS PLAYING] 1069 00:59:24,244 --> 01:01:23,936 1070 01:01:23,936 --> 01:01:25,860 PROFESSOR: Nice. 1071 01:01:25,860 --> 01:01:28,760 [APPLAUSE] 1072 01:01:28,760 --> 01:01:31,330 PROFESSOR: So, as far as this coming up, let me just ask. 1073 01:01:31,330 --> 01:01:33,740 What worked as you had envisioned it and were there 1074 01:01:33,740 --> 01:01:35,860 any surprises in here? 1075 01:01:35,860 --> 01:01:40,275 AUDIENCE 13: So, I think it was a good-- it kind of got 1076 01:01:40,275 --> 01:01:44,892 everyone started in at least some idea of what 1077 01:01:44,892 --> 01:01:48,140 sound or some rough idea of key, I guess. 1078 01:01:48,140 --> 01:01:53,390 It was maybe a little freer than I expected, 1079 01:01:53,390 --> 01:01:57,020 just because everyone started at different tempos. 1080 01:01:57,020 --> 01:01:57,520 Yeah. 1081 01:01:57,520 --> 01:02:01,560 So it was also different adding-- 1082 01:02:01,560 --> 01:02:06,022 I guess it was probably not necessarily a bug, but just 1083 01:02:06,022 --> 01:02:08,006 a feature of how it works. 1084 01:02:08,006 --> 01:02:12,216 People have different, I guess, ideas of how to add complexity. 1085 01:02:12,216 --> 01:02:12,966 PROFESSOR: Mm-hmm. 1086 01:02:12,966 --> 01:02:14,950 Mm-hmm. 1087 01:02:14,950 --> 01:02:15,460 Good. 1088 01:02:15,460 --> 01:02:16,540 Very nice. 1089 01:02:16,540 --> 01:02:18,810 AUDIENCE 14: So, I didn't write any material. 1090 01:02:18,810 --> 01:02:22,891 So this is going to be focused on listening to other people. 1091 01:02:22,891 --> 01:02:23,390 All right. 1092 01:02:23,390 --> 01:02:24,732 So, one is active. 1093 01:02:24,732 --> 01:02:25,315 Two is sparse. 1094 01:02:25,315 --> 01:02:28,460 These are the ones we've used before. 1095 01:02:28,460 --> 01:02:31,380 What we're going to start with is three, which is, 1096 01:02:31,380 --> 01:02:34,900 you should be alternating between serene chords 1097 01:02:34,900 --> 01:02:35,950 and motives. 1098 01:02:35,950 --> 01:02:39,410 As by motives I just mean two to four notes. 1099 01:02:39,410 --> 01:02:40,790 It can have rhythm if you want. 1100 01:02:40,790 --> 01:02:44,400 Something that can be easily recognizable. 1101 01:02:44,400 --> 01:02:50,180 OK, so hands rising is crescendo, diminuendo. 1102 01:02:50,180 --> 01:02:53,820 And if I cup my ears, that means listen to other people 1103 01:02:53,820 --> 01:02:57,010 and try to repeat their motives. 1104 01:02:57,010 --> 01:03:00,040 If I do a ball, like this, this means 1105 01:03:00,040 --> 01:03:02,210 that we're going to try to sort of all come 1106 01:03:02,210 --> 01:03:04,420 into-- all repeat the same motive. 1107 01:03:04,420 --> 01:03:06,410 Like coalesce into one. 1108 01:03:06,410 --> 01:03:08,530 And if that happens, then I'll go like this, 1109 01:03:08,530 --> 01:03:10,945 and that'll mean to gradually break apart. 1110 01:03:10,945 --> 01:03:12,877 So, we'll see if that works. 1111 01:03:12,877 --> 01:03:14,326 All right. 1112 01:03:14,326 --> 01:03:15,292 So. 1113 01:03:15,292 --> 01:03:16,258 You guys-- 1114 01:03:16,258 --> 01:03:20,750 1115 01:03:20,750 --> 01:03:23,436 [MANY INSTRUMENTS PLAYING] 1116 01:03:23,436 --> 01:05:02,466 1117 01:05:02,466 --> 01:05:06,174 [APPLAUSE] 1118 01:05:06,174 --> 01:05:07,840 PROFESSOR: What did you feel about this? 1119 01:05:07,840 --> 01:05:09,950 AUDIENCE 14: Well, it didn't really 1120 01:05:09,950 --> 01:05:11,520 coalesce as I was expecting it to, 1121 01:05:11,520 --> 01:05:14,310 maybe because there wasn't a really distinctive motive. 1122 01:05:14,310 --> 01:05:17,790 But I did hear some feedback, which was great. 1123 01:05:17,790 --> 01:05:21,697 PROFESSOR: Yeah, I heard that as the non-interested observer, 1124 01:05:21,697 --> 01:05:23,780 or very interested but non-participating observer, 1125 01:05:23,780 --> 01:05:25,086 I should say. 1126 01:05:25,086 --> 01:05:26,710 I could definitely hear that happening. 1127 01:05:26,710 --> 01:05:27,100 AUDIENCE 14: Yeah. 1128 01:05:27,100 --> 01:05:28,890 I was trying to bring out certain motives, 1129 01:05:28,890 --> 01:05:32,010 but I guess one really became dominant. 1130 01:05:32,010 --> 01:05:34,410 PROFESSOR: There, again, literally practicing 1131 01:05:34,410 --> 01:05:35,829 or working with the material. 1132 01:05:35,829 --> 01:05:36,620 AUDIENCE 14: Right. 1133 01:05:36,620 --> 01:05:38,292 But really, really well done. 1134 01:05:38,292 --> 01:05:39,720 Give everybody a hand. 1135 01:05:39,720 --> 01:05:40,991 Give yourself all a hand. 1136 01:05:40,991 --> 01:05:41,616 Very well done. 1137 01:05:41,616 --> 01:05:43,040 Very well done. 1138 01:05:43,040 --> 01:05:45,270 So, as I've said after each person's thing, 1139 01:05:45,270 --> 01:05:46,830 I've said-- or almost everybody-- 1140 01:05:46,830 --> 01:05:50,180 I've said composer and/or conductor or composer, 1141 01:05:50,180 --> 01:05:51,940 conductor, because each of you, when 1142 01:05:51,940 --> 01:05:54,270 you did that, you're both those things. 1143 01:05:54,270 --> 01:05:56,270 You're enacting out of-- essentially, 1144 01:05:56,270 --> 01:05:58,330 this is your raw material, whatever it would be, 1145 01:05:58,330 --> 01:05:59,510 for each person. 1146 01:05:59,510 --> 01:06:02,170 And you're enacting in the moment 1147 01:06:02,170 --> 01:06:05,920 through improvisation what the composition is going to be. 1148 01:06:05,920 --> 01:06:07,420 Because as we've said, improvisation 1149 01:06:07,420 --> 01:06:08,586 is composition and all that. 1150 01:06:08,586 --> 01:06:12,670 So this is just a different, yet another way to do it. 1151 01:06:12,670 --> 01:06:15,440 It's a little bit different than what we've done before, 1152 01:06:15,440 --> 01:06:17,100 but can be interesting. 1153 01:06:17,100 --> 01:06:20,360 I would suggest that you think about-- 1154 01:06:20,360 --> 01:06:22,090 whether it ever happens again or not. 1155 01:06:22,090 --> 01:06:24,520 I mean, it could be factored into your final project, 1156 01:06:24,520 --> 01:06:27,315 obviously-- think about what I've said to a couple of you. 1157 01:06:27,315 --> 01:06:30,230 If you were to do your piece for today, if you were to do that 1158 01:06:30,230 --> 01:06:32,750 again, what would you do to enhance it? 1159 01:06:32,750 --> 01:06:34,540 What could you do to make sure that it 1160 01:06:34,540 --> 01:06:38,612 was closer to what your intention was? 1161 01:06:38,612 --> 01:06:40,070 And the other thing is, I think you 1162 01:06:40,070 --> 01:06:42,760 might want to check out that OCW film of Walter 1163 01:06:42,760 --> 01:06:46,099 Thompson, his sound-painting thing from another course. 1164 01:06:46,099 --> 01:06:48,015 But I think if you just put in Walter Thompson 1165 01:06:48,015 --> 01:06:50,580 and sound painting on OCW, you'll get this. 1166 01:06:50,580 --> 01:06:52,407 It's fascinating, what he does. 1167 01:06:52,407 --> 01:06:54,240 And he has a whole different set of signals. 1168 01:06:54,240 --> 01:06:57,314 I think you'd get a kick out of it. 1169 01:06:57,314 --> 01:06:59,105 What was the last thing I was going to say? 1170 01:06:59,105 --> 01:06:59,605 Oh, yeah. 1171 01:06:59,605 --> 01:07:01,400 See you Saturday. 1172 01:07:01,400 --> 01:07:01,920 Thank you. 1173 01:07:01,920 --> 01:07:02,420 Good job. 1174 01:07:02,420 --> 01:07:04,370 Really good job. 1175 01:07:04,370 --> 01:07:05,596