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PROFESSOR: OK.

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00:00:30,510 --> 00:00:32,070
So, what we're
doing today is what

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I call flexology--
most of you were here

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00:00:34,190 --> 00:00:38,710
last time-- this conducted
improvisation approach.

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00:00:38,710 --> 00:00:41,890
So, we've got a music stand
here for the conductors,

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00:00:41,890 --> 00:00:42,710
if you want it.

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00:00:42,710 --> 00:00:46,520
And we've got a couple stands
here if people need anything.

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00:00:46,520 --> 00:00:48,830
But you're free to do
whatever you want, so--

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00:00:48,830 --> 00:00:52,760
AUDIENCE 1: So, I have three
different melodic lines.

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00:00:52,760 --> 00:00:53,702
Copy for you.

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00:00:53,702 --> 00:00:55,115
PROFESSOR: Thanks.

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00:00:55,115 --> 00:00:57,940
AUDIENCE 1: So, they're
labeled 3, 4, and 5,

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00:00:57,940 --> 00:01:02,380
and I'll signal those with
the appropriate number.

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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

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00:01:11,140 --> 00:01:13,440
of active playing,
2 is improvised

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00:01:13,440 --> 00:01:16,890
with a few other notes, mostly.

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00:01:16,890 --> 00:01:20,090
3 to 5 is [INAUDIBLE] by
[INAUDIBLE] the melodic line,

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00:01:20,090 --> 00:01:23,010
and then feel free to improvise
upon it once you've played it

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00:01:23,010 --> 00:01:25,156
once or twice.

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00:01:25,156 --> 00:01:27,050
If I need to change
the dynamics,

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00:01:27,050 --> 00:01:30,240
I'll indicate it sort of
hopefully intuitively,

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00:01:30,240 --> 00:01:32,162
and that's it.

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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.

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00:01:38,054 --> 00:01:40,018
Any questions about the cues?

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00:01:40,018 --> 00:01:43,950

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00:01:43,950 --> 00:01:45,339
OK.

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00:01:45,339 --> 00:01:46,880
PROFESSOR: Then we
should try to keep

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00:01:46,880 --> 00:01:49,835
all of these about two minutes,
maybe two and 1/2 minutes.

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00:01:49,835 --> 00:01:50,817
Something like that.

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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.

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00:01:56,084 --> 00:01:56,584
OK.

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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

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00:02:54,410 --> 00:02:57,320
[PIANO, FLUTE, AND GUITAR
 PLAYING]

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00:02:57,320 --> 00:04:34,685

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00:04:34,685 --> 00:04:39,158
[APPLAUSE]

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00:04:39,158 --> 00:04:40,050
PROFESSOR: Very nice.

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00:04:40,050 --> 00:04:41,185
How did that suit your--

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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

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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,

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00:04:51,940 --> 00:04:54,462
so you guys decided
to play it straight.

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00:04:54,462 --> 00:04:56,465
And, I didn't even
thought of listening

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00:04:56,465 --> 00:04:59,450
to the piece that way.

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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

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00:05:08,130 --> 00:05:11,714
when people weren't
playing together.

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00:05:11,714 --> 00:05:12,380
PROFESSOR: Yeah.

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00:05:12,380 --> 00:05:13,040
Very nice.

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00:05:13,040 --> 00:05:14,414
Players, any comments?

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00:05:14,414 --> 00:05:18,000

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Was this clear?

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Could you follow
the instructions?

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00:05:21,510 --> 00:05:24,310

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00:05:24,310 --> 00:05:27,650
Because it looked like a very
clear set-up on the page.

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Very, very good to have
five things, three of them

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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

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00:05:35,680 --> 00:05:37,846
that we've worked with
before on a couple occasions.

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So I thought that
was really good.

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Really good.

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00:05:41,650 --> 00:05:44,080
And obviously, you said
you were shocked sort of.

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If you did this again, you
could specify more things.

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PROFESSOR: Yep.

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00:05:48,330 --> 00:05:49,820
You could specify
swing eighth notes.

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00:05:49,820 --> 00:05:51,516
AUDIENCE 1: You could-- I didn't
even think of writing that,

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but I should have.

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AUDIENCE 1: Right.

88
00:05:53,490 --> 00:05:55,969
Well, maybe or maybe not.

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00:05:55,969 --> 00:05:58,010
AUDIENCE 1: I like the
way it turned out, anyway.

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00:05:58,010 --> 00:05:58,070
PROFESSOR: Yeah.

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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,

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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.

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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.

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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.

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00:06:34,800 --> 00:06:35,714
PROFESSOR: Go for it.

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00:06:35,714 --> 00:06:36,630
AUDIENCE 2: All right.

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00:06:36,630 --> 00:06:38,500
So, I'm just going to
draw this on the board.

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00:06:38,500 --> 00:06:39,208
PROFESSOR: Uh-oh.

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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.

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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.

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00:06:52,806 --> 00:06:55,698
I guess I'm just going
to include everyone

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00:06:55,698 --> 00:06:58,472
in this, because
at the beginning

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00:06:58,472 --> 00:06:59,680
it's going to be very sparse.

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00:06:59,680 --> 00:07:02,096
Basically, I'm just going to
ask you guys to pick one note

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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.

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00:07:07,145 --> 00:07:09,215
And them I'm going to have
two motives that are just

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00:07:09,215 --> 00:07:10,881
going to be sort of
visual, and I'm just

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00:07:10,881 --> 00:07:14,150
going to cue you guys one
or two each at a time,

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00:07:14,150 --> 00:07:16,316
and then the rest of you
guys just stay on your note

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00:07:16,316 --> 00:07:16,900
that you pick.

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00:07:16,900 --> 00:07:19,232
So basically, you have the
center note, which is the one

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00:07:19,232 --> 00:07:20,410
that you choose.

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00:07:20,410 --> 00:07:22,746
And so the first motive
will be like this.

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00:07:22,746 --> 00:07:31,586

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00:07:31,586 --> 00:07:32,710
So that's the first motive.

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00:07:32,710 --> 00:07:36,252
So this is-- And
then the second one.

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00:07:36,252 --> 00:07:49,401

134
00:07:49,401 --> 00:07:51,754
So this is [? my idea. ?]

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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.

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00:07:54,648 --> 00:07:56,854
PROFESSOR: What's the top one?

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00:07:56,854 --> 00:07:58,104
AUDIENCE 2: I don't know.

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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?

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00:08:00,758 --> 00:08:01,383
AUDIENCE 2: No.

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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

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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--

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00:08:21,824 --> 00:08:25,776
[PIANO PLAYING]

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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