1 00:00:00,000 --> 00:00:00,050 2 00:00:00,050 --> 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 --> 00:00:12,690 To make a donation or view additional materials 7 00:00:12,690 --> 00:00:16,609 from hundreds of MIT courses, visit MIT OpenCourseWare 8 00:00:16,609 --> 00:00:18,730 at ocw.mit.edu. 9 00:00:18,730 --> 00:00:28,800 10 00:00:28,800 --> 00:00:31,607 PROFESSOR: OK, so let's move into are our topic for the day. 11 00:00:31,607 --> 00:00:32,940 So we've got a couple of things. 12 00:00:32,940 --> 00:00:35,750 We're going to talk a little bit about In a Silent Way. 13 00:00:35,750 --> 00:00:39,530 And then I want to have us have a chance 14 00:00:39,530 --> 00:00:41,600 to present what you have created. 15 00:00:41,600 --> 00:00:43,290 And we'll see how this goes. 16 00:00:43,290 --> 00:00:47,630 So this is pretty much, at least in the second part, unknown. 17 00:00:47,630 --> 00:00:49,450 We don't know what's going to happen. 18 00:00:49,450 --> 00:00:51,030 So it should be interesting. 19 00:00:51,030 --> 00:00:52,560 But in terms of In a Silent Way, did 20 00:00:52,560 --> 00:00:56,010 everybody get to listen to that? 21 00:00:56,010 --> 00:01:02,030 And what do you make of that composition, called 22 00:01:02,030 --> 00:01:04,349 In a Silent Way by Miles Davis? 23 00:01:04,349 --> 00:01:06,699 What do you make of that? 24 00:01:06,699 --> 00:01:07,865 What did you hear happening? 25 00:01:07,865 --> 00:01:12,478 26 00:01:12,478 --> 00:01:16,006 AUDIENCE: It seemed modal, so it didn't have any definite chord 27 00:01:16,006 --> 00:01:18,730 changes, which I think gave it sort of like a, 28 00:01:18,730 --> 00:01:20,747 like, spacey ambiguous feel to it. 29 00:01:20,747 --> 00:01:21,330 PROFESSOR: OK. 30 00:01:21,330 --> 00:01:21,829 Good. 31 00:01:21,829 --> 00:01:24,229 Modal, spacey, ambiguous. 32 00:01:24,229 --> 00:01:24,770 Anybody else? 33 00:01:24,770 --> 00:01:27,734 34 00:01:27,734 --> 00:01:30,698 AUDIENCE: A lot of the melody and things were also ambiguous. 35 00:01:30,698 --> 00:01:34,650 There were a few clear themes that would repeat, 36 00:01:34,650 --> 00:01:38,550 but there was a lot of just sounds. 37 00:01:38,550 --> 00:01:39,630 That was cool. 38 00:01:39,630 --> 00:01:42,586 PROFESSOR: Sounds, OK. 39 00:01:42,586 --> 00:01:45,040 AUDIENCE: The instrumentation was just very different 40 00:01:45,040 --> 00:01:49,122 from the other Miles Davis pieces we'd listened to, 41 00:01:49,122 --> 00:01:51,800 and the style and everything, like it being 42 00:01:51,800 --> 00:01:54,590 so like a slow, laid-back, almost free-flowing piece, 43 00:01:54,590 --> 00:01:58,372 with a more I guess like electronic feel to it. 44 00:01:58,372 --> 00:02:00,202 But that was interesting. 45 00:02:00,202 --> 00:02:00,910 PROFESSOR: Right. 46 00:02:00,910 --> 00:02:03,130 And because, what were some of the accompanying 47 00:02:03,130 --> 00:02:04,523 instruments in this? 48 00:02:04,523 --> 00:02:07,241 AUDIENCE: It sounded maybe like a synth, I want to say. 49 00:02:07,241 --> 00:02:08,150 Was that a synth? 50 00:02:08,150 --> 00:02:10,160 PROFESSOR: Fender Rhodes. 51 00:02:10,160 --> 00:02:11,644 Actually, two Fender Rhodes piano, 52 00:02:11,644 --> 00:02:12,810 which is sort of old school. 53 00:02:12,810 --> 00:02:14,140 But you see these around a lot. 54 00:02:14,140 --> 00:02:16,390 In fact, we have one at MIT, which 55 00:02:16,390 --> 00:02:18,960 the current pianist with the FJE likes 56 00:02:18,960 --> 00:02:20,700 to call it out and play it. 57 00:02:20,700 --> 00:02:21,710 So that's great. 58 00:02:21,710 --> 00:02:26,590 And somebody playing the organ, as well as that. 59 00:02:26,590 --> 00:02:27,090 What else? 60 00:02:27,090 --> 00:02:28,590 What else did you hear, instruments? 61 00:02:28,590 --> 00:02:39,436 62 00:02:39,436 --> 00:02:41,060 AUDIENCE: How prominent the instruments 63 00:02:41,060 --> 00:02:47,102 were to one another was more uniform than the recordings 64 00:02:47,102 --> 00:02:48,510 we've listened to. 65 00:02:48,510 --> 00:02:49,540 PROFESSOR: Meaning? 66 00:02:49,540 --> 00:02:53,774 AUDIENCE: Like, it's not like that obviously the trumpet 67 00:02:53,774 --> 00:02:56,490 had the lead the whole time. 68 00:02:56,490 --> 00:02:59,050 PROFESSOR: Right. 69 00:02:59,050 --> 00:03:00,990 So a lot more diversity of who is sort of 70 00:03:00,990 --> 00:03:02,850 in the lead and that kind of thing. 71 00:03:02,850 --> 00:03:07,260 Was it only that sort of ambiguous free floating sound? 72 00:03:07,260 --> 00:03:13,000 73 00:03:13,000 --> 00:03:15,080 Was it only that, are did it do something else? 74 00:03:15,080 --> 00:03:23,016 75 00:03:23,016 --> 00:03:25,496 AUDIENCE: Well, after a few minutes [INAUDIBLE] 76 00:03:25,496 --> 00:03:35,440 77 00:03:35,440 --> 00:03:36,890 PROFESSOR: OK, a regular beat. 78 00:03:36,890 --> 00:03:40,655 And what was the rhythmic feel there? 79 00:03:40,655 --> 00:03:41,530 AUDIENCE: [INAUDIBLE] 80 00:03:41,530 --> 00:03:45,957 81 00:03:45,957 --> 00:03:47,790 PROFESSOR: But I mean, was it jazz, was it-- 82 00:03:47,790 --> 00:03:51,785 83 00:03:51,785 --> 00:03:52,660 AUDIENCE: [INAUDIBLE] 84 00:03:52,660 --> 00:04:03,404 85 00:04:03,404 --> 00:04:04,320 PROFESSOR: Percussive. 86 00:04:04,320 --> 00:04:05,380 OK. 87 00:04:05,380 --> 00:04:07,050 Anybody else have a term that could 88 00:04:07,050 --> 00:04:09,600 characterize what it went into? 89 00:04:09,600 --> 00:04:17,019 90 00:04:17,019 --> 00:04:20,154 We all heard the piece, right? 91 00:04:20,154 --> 00:04:22,490 And it was a fairly long piece, right, 92 00:04:22,490 --> 00:04:25,130 like about 20 minute piece? 93 00:04:25,130 --> 00:04:27,757 OK. 94 00:04:27,757 --> 00:04:29,090 I was sure you would catch this. 95 00:04:29,090 --> 00:04:32,320 It goes into essentially a rock kind of a feel. 96 00:04:32,320 --> 00:04:34,282 It's a more subtle rock feel than what 97 00:04:34,282 --> 00:04:36,490 you would have heard from a rock band in that period. 98 00:04:36,490 --> 00:04:39,250 But nonetheless, that's what it's going to. 99 00:04:39,250 --> 00:04:42,160 This became sort of the signature piece 100 00:04:42,160 --> 00:04:46,540 that moved jazz into what was called jazz rock or fusion. 101 00:04:46,540 --> 00:04:49,270 In 1969 is when this came out. 102 00:04:49,270 --> 00:04:51,620 And in fact, this middle part is the longest part 103 00:04:51,620 --> 00:04:53,170 of the whole piece. 104 00:04:53,170 --> 00:04:56,230 It's where most of the soloing happens. 105 00:04:56,230 --> 00:05:00,630 And then it returns to this sort of quieter, more lyrical thing 106 00:05:00,630 --> 00:05:02,020 at the end. 107 00:05:02,020 --> 00:05:03,580 And I put these names of the board, 108 00:05:03,580 --> 00:05:07,050 because it turns out that this is actually 109 00:05:07,050 --> 00:05:10,900 a piece that was put together in the studio. 110 00:05:10,900 --> 00:05:13,460 It's a studio realization, you could say. 111 00:05:13,460 --> 00:05:15,770 And the first part is called In a Silent Way. 112 00:05:15,770 --> 00:05:18,210 That's composed by Joe Zawinul, who 113 00:05:18,210 --> 00:05:20,584 was one of the three keyboard players. 114 00:05:20,584 --> 00:05:22,500 That shows up at the beginning and at the end. 115 00:05:22,500 --> 00:05:25,000 And in the middle is a piece that both Zawinul and Miles 116 00:05:25,000 --> 00:05:28,380 Davis co-composed, called It's About That Time, which 117 00:05:28,380 --> 00:05:31,137 is the more funky, rock type of piece. 118 00:05:31,137 --> 00:05:36,900 And so they decided to essentially blend these pieces. 119 00:05:36,900 --> 00:05:38,622 And the further thing about this is 120 00:05:38,622 --> 00:05:41,450 this was an early attempt by people 121 00:05:41,450 --> 00:05:44,080 in the studio, one guy in particular, Teo Macero, who 122 00:05:44,080 --> 00:05:47,917 worked with Miles Davis a lot, to essentially sort 123 00:05:47,917 --> 00:05:49,750 of you could say cut and paste, because they 124 00:05:49,750 --> 00:05:52,897 used to have to splice tape to make cuts and paste them 125 00:05:52,897 --> 00:05:53,480 back together. 126 00:05:53,480 --> 00:05:55,310 It's before digital editing. 127 00:05:55,310 --> 00:05:56,990 And so there's some of that that's 128 00:05:56,990 --> 00:05:58,860 going on in the middle section. 129 00:05:58,860 --> 00:06:02,470 And in fact, the last section is exactly what 130 00:06:02,470 --> 00:06:04,310 was played for the first four minutes. 131 00:06:04,310 --> 00:06:05,390 It's just a replica. 132 00:06:05,390 --> 00:06:06,390 It's a replication. 133 00:06:06,390 --> 00:06:10,490 It's the same exact music just pasted in at the end. 134 00:06:10,490 --> 00:06:14,090 So it sort of calls into a new perspective 135 00:06:14,090 --> 00:06:18,105 what is improvisation and what is jazz composition, really. 136 00:06:18,105 --> 00:06:19,480 And you're going to have a chance 137 00:06:19,480 --> 00:06:21,210 to talk with Neil Leonard when he comes 138 00:06:21,210 --> 00:06:24,850 in about another month about exactly that, electronic usage, 139 00:06:24,850 --> 00:06:26,880 computer usage, and improvisation stuff. 140 00:06:26,880 --> 00:06:29,490 But this is sort of an early attempt. 141 00:06:29,490 --> 00:06:31,845 The other thing that I wanted us to listen to this for 142 00:06:31,845 --> 00:06:37,360 is that this basically is a jazz version of the format 143 00:06:37,360 --> 00:06:41,980 that we're going to hear on Sunday at the Indian concert. 144 00:06:41,980 --> 00:06:45,090 Because how many people have had the Music of India course? 145 00:06:45,090 --> 00:06:46,310 Anybody have that course? 146 00:06:46,310 --> 00:06:47,360 You've had that. 147 00:06:47,360 --> 00:06:48,400 Anybody else? 148 00:06:48,400 --> 00:06:51,700 And so you know that the way that the music in the Raga 149 00:06:51,700 --> 00:06:56,730 tradition works is there's a very slow presentation, as it's 150 00:06:56,730 --> 00:06:59,610 called, of the raga, the main melody. 151 00:06:59,610 --> 00:07:02,800 And then after that is allowed to be stated 152 00:07:02,800 --> 00:07:05,250 in a very lyrical, free floating way, 153 00:07:05,250 --> 00:07:09,030 then you get this rhythmic sense with a particular cycle 154 00:07:09,030 --> 00:07:11,370 or a tala that comes in. 155 00:07:11,370 --> 00:07:16,400 And so it's hard to believe that Miles Davis was not influenced 156 00:07:16,400 --> 00:07:18,420 by John Coltrane, who had previously 157 00:07:18,420 --> 00:07:19,824 been part of Miles' band. 158 00:07:19,824 --> 00:07:21,240 But Coltrane, as many of you know, 159 00:07:21,240 --> 00:07:24,180 had explored the music of India. 160 00:07:24,180 --> 00:07:27,210 And so it's sort of like a cross influence 161 00:07:27,210 --> 00:07:29,490 coming back from what somebody had originally 162 00:07:29,490 --> 00:07:32,610 been a player in Miles' band coming back to inform him. 163 00:07:32,610 --> 00:07:37,640 And this piece really has a very Indian at least pattern to it, 164 00:07:37,640 --> 00:07:39,010 if not Indian music. 165 00:07:39,010 --> 00:07:43,210 It's not a raga, but it is its own particular mode, 166 00:07:43,210 --> 00:07:45,330 as people have said. 167 00:07:45,330 --> 00:07:47,260 Anybody know what mode it was, or did you 168 00:07:47,260 --> 00:07:48,310 try to figure that out? 169 00:07:48,310 --> 00:07:59,068 170 00:07:59,068 --> 00:08:02,980 AUDIENCE: Was it, could it be in Dorian? 171 00:08:02,980 --> 00:08:10,510 Because it began with a flat [INAUDIBLE] 7th, I think. 172 00:08:10,510 --> 00:08:11,570 PROFESSOR: OK. 173 00:08:11,570 --> 00:08:15,120 Anybody have a different take on it? 174 00:08:15,120 --> 00:08:22,860 175 00:08:22,860 --> 00:08:25,415 AUDIENCE: I figured out which notes were in the mode, 176 00:08:25,415 --> 00:08:27,235 but I don't know if I could remember them. 177 00:08:27,235 --> 00:08:28,859 I was playing along to it, but I didn't 178 00:08:28,859 --> 00:08:31,606 think about what the actual mode was. 179 00:08:31,606 --> 00:08:33,730 PROFESSOR: OK, but you tried to play along with it. 180 00:08:33,730 --> 00:08:34,055 That's good. 181 00:08:34,055 --> 00:08:34,680 AUDIENCE: Yeah. 182 00:08:34,680 --> 00:08:37,820 I feel like I figured out which notes that actually fit. 183 00:08:37,820 --> 00:08:40,890 AUDIENCE: Anybody remember what was going on at the same time 184 00:08:40,890 --> 00:08:42,265 that the melody was being played? 185 00:08:42,265 --> 00:08:56,026 186 00:08:56,026 --> 00:08:57,400 So obviously I'm going to suggest 187 00:08:57,400 --> 00:09:02,360 you go listen to it again, so we can hear more deeply inside 188 00:09:02,360 --> 00:09:03,860 of what's going on. 189 00:09:03,860 --> 00:09:05,860 Let me just come over to the piano for a second. 190 00:09:05,860 --> 00:09:08,430 I made a brief transcription of this melody. 191 00:09:08,430 --> 00:09:10,570 And what's going on is-- if I can just 192 00:09:10,570 --> 00:09:14,550 get over there-- the first thing that we 193 00:09:14,550 --> 00:09:16,620 have with this is a drone. 194 00:09:16,620 --> 00:09:20,062 A drone is just a long note underneath the melody. 195 00:09:20,062 --> 00:09:22,020 And we've done that with some of our exercises, 196 00:09:22,020 --> 00:09:26,130 right, where we've just had a basic tonal center. 197 00:09:26,130 --> 00:09:28,700 I didn't call it that, but that's what it is. 198 00:09:28,700 --> 00:09:29,910 Same thing in Indian music. 199 00:09:29,910 --> 00:09:33,410 There's a drone established by one of the instruments. 200 00:09:33,410 --> 00:09:35,260 And then the melody works off that. 201 00:09:35,260 --> 00:09:37,751 So in this case, it's an E. [PIANO PLAYING] 202 00:09:37,751 --> 00:09:41,540 So you're always hearing this E, and then it's actually, 203 00:09:41,540 --> 00:09:42,520 this is the melody. 204 00:09:42,520 --> 00:09:47,720 [PIANO PLAYING] It starts on the third. 205 00:09:47,720 --> 00:09:49,609 If you were in E and you had E major chord, 206 00:09:49,609 --> 00:09:52,150 it's actually the third of the E major chord. [PIANO PLAYING] 207 00:09:52,150 --> 00:09:53,630 But you never get that chord. 208 00:09:53,630 --> 00:09:54,480 You just get this. 209 00:09:54,480 --> 00:09:57,214 [PIANO PLAYING] 210 00:09:57,214 --> 00:10:08,310 211 00:10:08,310 --> 00:10:10,010 PROFESSOR: And that's a big interval. 212 00:10:10,010 --> 00:10:11,620 That's a minor seventh jump. 213 00:10:11,620 --> 00:10:14,362 214 00:10:14,362 --> 00:10:17,230 And here's where you get the tip off of what the mode is. 215 00:10:17,230 --> 00:10:19,918 [PIANO PLAYING] 216 00:10:19,918 --> 00:10:24,850 217 00:10:24,850 --> 00:10:29,630 PROFESSOR: And what that is is E to D natural, which 218 00:10:29,630 --> 00:10:38,750 means that it's E essentially mixolydian, because if you had 219 00:10:38,750 --> 00:10:45,540 come on that same phrase and gone [PIANO PLAYING] 220 00:10:45,540 --> 00:10:52,552 it's totally different. [PIANO PLAYING] 221 00:10:52,552 --> 00:10:54,920 And it winds up on the fifth, which 222 00:10:54,920 --> 00:10:58,740 is the B, which is again an open sound. 223 00:10:58,740 --> 00:11:01,670 So except for occasionally getting a major third of what 224 00:11:01,670 --> 00:11:03,890 might have been the chord, it's really 225 00:11:03,890 --> 00:11:05,730 ambiguous, which a number of you said. 226 00:11:05,730 --> 00:11:07,250 Yeah, Jamie, you had a point. 227 00:11:07,250 --> 00:11:09,084 AUDIENCE: Yeah, it's funny because the piece 228 00:11:09,084 --> 00:11:11,458 that I wrote, which I wrote after I listened to the song, 229 00:11:11,458 --> 00:11:12,420 was in E mixolydian. 230 00:11:12,420 --> 00:11:14,740 So obviously that transferred over. 231 00:11:14,740 --> 00:11:16,620 PROFESSOR: Deeply influenced by this piece. 232 00:11:16,620 --> 00:11:17,170 And that's great. 233 00:11:17,170 --> 00:11:17,885 AUDIENCE: So I knew as soon as you 234 00:11:17,885 --> 00:11:19,435 played that, that was E mixolydian. 235 00:11:19,435 --> 00:11:20,310 PROFESSOR: That's OK. 236 00:11:20,310 --> 00:11:21,850 That's how we learn. 237 00:11:21,850 --> 00:11:25,470 And that's a great homage to this particular piece. 238 00:11:25,470 --> 00:11:32,440 So what we've got here, in other words, is a pretty simple mode. 239 00:11:32,440 --> 00:11:34,170 It's just one. 240 00:11:34,170 --> 00:11:36,350 And it almost sounds like it's major, 241 00:11:36,350 --> 00:11:38,890 except for that little trick note that I pointed out. 242 00:11:38,890 --> 00:11:40,809 But that's a very distinctive note. 243 00:11:40,809 --> 00:11:42,350 And so when you listen to this again, 244 00:11:42,350 --> 00:11:44,670 pay attention to that, because it really 245 00:11:44,670 --> 00:11:47,140 is the thing that sets this piece off 246 00:11:47,140 --> 00:11:49,020 apart from many others. 247 00:11:49,020 --> 00:11:50,740 Now the interesting thing about this 248 00:11:50,740 --> 00:11:54,390 is according to people who have really 249 00:11:54,390 --> 00:11:55,980 studied this and interviewed people 250 00:11:55,980 --> 00:12:01,030 who were on the recording session, when Joe Zawinul, who 251 00:12:01,030 --> 00:12:03,950 wrote this tune, the one we just talked about, when he brought 252 00:12:03,950 --> 00:12:07,572 this into the recording session, he had chords with it. 253 00:12:07,572 --> 00:12:10,820 He had chord changes written for it. 254 00:12:10,820 --> 00:12:14,540 And Miles Davis saw this and said 255 00:12:14,540 --> 00:12:16,430 to the guitar player, John McLaughlin, 256 00:12:16,430 --> 00:12:19,600 why don't you just play the melody? 257 00:12:19,600 --> 00:12:21,505 And it sort of took McLaughlin aback. 258 00:12:21,505 --> 00:12:23,880 It was like, well, what am I going to do with the chords? 259 00:12:23,880 --> 00:12:25,010 And the piano player said, what are we 260 00:12:25,010 --> 00:12:26,176 going to do with the chords? 261 00:12:26,176 --> 00:12:27,910 He said, don't play them. 262 00:12:27,910 --> 00:12:32,260 Just-- Dave Holland was the bass player-- just 263 00:12:32,260 --> 00:12:36,360 put a E pedal underneath all of this, play the melody 264 00:12:36,360 --> 00:12:38,870 and let that be the whole thing. 265 00:12:38,870 --> 00:12:42,390 And so according to these people again at the session, 266 00:12:42,390 --> 00:12:43,960 they did this. 267 00:12:43,960 --> 00:12:46,080 And no one was sure how it was going to turn out. 268 00:12:46,080 --> 00:12:47,455 And when they heard the playback, 269 00:12:47,455 --> 00:12:51,980 they were just astonished, because it made so much sense. 270 00:12:51,980 --> 00:12:54,870 And this is sort of the next level after Kind of Blue. 271 00:12:54,870 --> 00:12:57,020 In fact, it was 10 years after Kind of Blue. 272 00:12:57,020 --> 00:12:59,360 So it's sort of like moving from that, 273 00:12:59,360 --> 00:13:01,240 building on that direction, incorporating 274 00:13:01,240 --> 00:13:03,650 some Indian-ish type things with it, 275 00:13:03,650 --> 00:13:05,360 and coming out with what we have. 276 00:13:05,360 --> 00:13:08,310 So I really do recommend you listen to this again. 277 00:13:08,310 --> 00:13:11,310 Try to hear some of these other things that are happening. 278 00:13:11,310 --> 00:13:15,320 And when you hear the middle section, this other tune, 279 00:13:15,320 --> 00:13:18,660 it's called It's About That Time, pay attention to this, 280 00:13:18,660 --> 00:13:20,955 because this now shifts the tonal center up 281 00:13:20,955 --> 00:13:24,900 a half step to F. Some people say it's mixolydian. 282 00:13:24,900 --> 00:13:27,270 I hear it as a pentatonic sound. 283 00:13:27,270 --> 00:13:29,154 So see if you can maybe play along with that. 284 00:13:29,154 --> 00:13:31,320 That would be a good one to play around and just see 285 00:13:31,320 --> 00:13:33,240 what you can figure out on the bass-line. 286 00:13:33,240 --> 00:13:35,480 And that's all it is, is a bass-line, 287 00:13:35,480 --> 00:13:36,839 with a lot of textures. 288 00:13:36,839 --> 00:13:38,380 Remember, we've talked about textures 289 00:13:38,380 --> 00:13:39,370 from the other instruments. 290 00:13:39,370 --> 00:13:41,578 And this is particularly so with the three keyboards. 291 00:13:41,578 --> 00:13:45,520 So it's a great piece, and it bears listening to again. 292 00:13:45,520 --> 00:13:48,360 OK, so the assignment for you guys 293 00:13:48,360 --> 00:13:52,720 was to come up with a piece that was similarly a long flowing 294 00:13:52,720 --> 00:13:55,500 melody of between 10 and 15 notes, 295 00:13:55,500 --> 00:13:59,210 and then figure out a way to present it. 296 00:13:59,210 --> 00:14:05,600 So who would like to present their piece? 297 00:14:05,600 --> 00:14:11,340 AUDIENCE: So the melody sort of goes like this. [BANJO PLAYING] 298 00:14:11,340 --> 00:14:14,930 That's just sort of the thing that we're going to play around 299 00:14:14,930 --> 00:14:19,875 on, is this. [BANJO PLAYING] And there's 300 00:14:19,875 --> 00:14:28,780 a second part that will come in occasionally. [BANJO PLAYING] 301 00:14:28,780 --> 00:14:32,461 Just like that, which is that second part. 302 00:14:32,461 --> 00:14:32,960 Alright. 303 00:14:32,960 --> 00:14:34,760 So why don't you, ah-- 304 00:14:34,760 --> 00:14:36,536 [BANJO PLAYING] 305 00:14:36,536 --> 00:14:46,840 306 00:14:46,840 --> 00:14:49,816 [SAXOPHONE JOINS BANJO] 307 00:14:49,816 --> 00:15:59,640 308 00:15:59,640 --> 00:16:01,990 [APPLAUSE] 309 00:16:01,990 --> 00:16:02,910 PROFESSOR: Very nice. 310 00:16:02,910 --> 00:16:04,620 Play those opening notes that you 311 00:16:04,620 --> 00:16:07,266 played when you told us what it was made out of. 312 00:16:07,266 --> 00:16:11,082 [BANJO PLAYING] 313 00:16:11,082 --> 00:16:12,540 AUDIENCE: You mean, just like the-- 314 00:16:12,540 --> 00:16:13,720 PROFESSOR: The little melody notes 315 00:16:13,720 --> 00:16:15,080 that you would play it around. 316 00:16:15,080 --> 00:16:17,488 [BANJO PLAYING] 317 00:16:17,488 --> 00:16:26,800 318 00:16:26,800 --> 00:16:30,420 PROFESSOR: Sarah, what does that sound like? 319 00:16:30,420 --> 00:16:32,190 What kind of music does that sound like? 320 00:16:32,190 --> 00:16:33,230 AUDIENCE: It does kind of sound like Indian music. 321 00:16:33,230 --> 00:16:34,440 PROFESSOR: It sounds like Indian music. 322 00:16:34,440 --> 00:16:35,884 Have you heard much Indian music? 323 00:16:35,884 --> 00:16:37,008 AUDIENCE: Oh, yeah, before. 324 00:16:37,008 --> 00:16:37,920 That's what I thought of. 325 00:16:37,920 --> 00:16:39,435 PROFESSOR: So it must be going into your consciousness. 326 00:16:39,435 --> 00:16:41,101 AUDIENCE: Yeah, at one point I was like, 327 00:16:41,101 --> 00:16:42,450 oh, it sounds a little Indian. 328 00:16:42,450 --> 00:16:45,580 PROFESSOR: So when you hear the concert on Sunday, 329 00:16:45,580 --> 00:16:50,090 what you're going to hear is something very similar to that. 330 00:16:50,090 --> 00:16:53,280 That'll be the presentation of the raga, that sort of idea 331 00:16:53,280 --> 00:16:54,470 that you just did. 332 00:16:54,470 --> 00:16:57,470 And in fact, when you got into that rhythmic thing, 333 00:16:57,470 --> 00:17:01,240 particularly your picking style, as well as piano, 334 00:17:01,240 --> 00:17:03,830 that would be very similar to what the tabla, the drummer 335 00:17:03,830 --> 00:17:07,109 would be doing, to give a percussive thing. 336 00:17:07,109 --> 00:17:08,270 So this is great. 337 00:17:08,270 --> 00:17:10,290 This is like unconscious processing 338 00:17:10,290 --> 00:17:11,359 of where we're going. 339 00:17:11,359 --> 00:17:12,300 So brilliant. 340 00:17:12,300 --> 00:17:14,859 And very nice playing on the saxophone. 341 00:17:14,859 --> 00:17:16,980 Very nice. 342 00:17:16,980 --> 00:17:19,569 You're bringing out what would be called 343 00:17:19,569 --> 00:17:23,470 the characteristic feature of the mode or if it was a rag, 344 00:17:23,470 --> 00:17:25,619 there's certain particular things. 345 00:17:25,619 --> 00:17:28,510 And Phil Scarf when he comes a week from-- well, 346 00:17:28,510 --> 00:17:29,960 it'll be on next Monday-- he'll be 347 00:17:29,960 --> 00:17:33,330 talking about that very particular, specific thing. 348 00:17:33,330 --> 00:17:35,190 So very well done. 349 00:17:35,190 --> 00:17:36,174 Good job. 350 00:17:36,174 --> 00:17:36,674 Good job. 351 00:17:36,674 --> 00:17:37,618 [APPLAUSE] 352 00:17:37,618 --> 00:17:40,240 PROFESSOR: Who would like to go next? 353 00:17:40,240 --> 00:17:46,390 AUDIENCE: It goes from D dorian, G mixolydian, C major. 354 00:17:46,390 --> 00:17:49,080 So piano should be playing chords. 355 00:17:49,080 --> 00:17:52,730 And then the melody, I was thinking flute and oboe 356 00:17:52,730 --> 00:17:54,409 could maybe improvise on part of it, 357 00:17:54,409 --> 00:17:55,700 like when you get to the major? 358 00:17:55,700 --> 00:17:58,610 359 00:17:58,610 --> 00:17:59,495 That's C major. 360 00:17:59,495 --> 00:18:03,401 361 00:18:03,401 --> 00:18:03,900 Yeah. 362 00:18:03,900 --> 00:18:05,960 There's not really time to this. 363 00:18:05,960 --> 00:18:09,120 So I sort of suggested which notes might be shorter 364 00:18:09,120 --> 00:18:11,010 and which ones might be longer. 365 00:18:11,010 --> 00:18:12,960 But take whatever time you want. 366 00:18:12,960 --> 00:18:15,280 That's why I figured maybe it's not best time 367 00:18:15,280 --> 00:18:18,620 for lots of people playing at once. 368 00:18:18,620 --> 00:18:22,745 AUDIENCE: [INAUDIBLE] sort of loop around a couple times? 369 00:18:22,745 --> 00:18:24,900 AUDIENCE: Yeah, I think once would not be enough. 370 00:18:24,900 --> 00:18:28,600 So maybe let's do two or three times. 371 00:18:28,600 --> 00:18:31,450 And I'm going to sit this out, because transposing 372 00:18:31,450 --> 00:18:34,190 and to keep it quiet. 373 00:18:34,190 --> 00:18:39,944 So I guess flute and piano, whenever you're ready. 374 00:18:39,944 --> 00:18:42,932 375 00:18:42,932 --> 00:18:45,882 [PIANO AND FLUTE PLAYING] 376 00:18:45,882 --> 00:19:23,564 377 00:19:23,564 --> 00:19:26,552 [OBOE ENTERS] 378 00:19:26,552 --> 00:20:50,216 379 00:20:50,216 --> 00:20:54,340 [APPLAUSE] 380 00:20:54,340 --> 00:20:57,190 PROFESSOR: So you were playing the actual melody. 381 00:20:57,190 --> 00:21:00,380 And you were improvising within the mode, or something, 382 00:21:00,380 --> 00:21:01,660 or around it. 383 00:21:01,660 --> 00:21:02,375 Very nice. 384 00:21:02,375 --> 00:21:04,208 AUDIENCE: Liked the percussive improvisation 385 00:21:04,208 --> 00:21:05,821 at the very beginning. 386 00:21:05,821 --> 00:21:06,904 AUDIENCE: Oh, yeah, sorry. 387 00:21:06,904 --> 00:21:09,336 I should have tested a couple of notes. 388 00:21:09,336 --> 00:21:10,460 PROFESSOR: Very, very nice. 389 00:21:10,460 --> 00:21:11,970 Very nice. 390 00:21:11,970 --> 00:21:13,684 Cool. 391 00:21:13,684 --> 00:21:15,350 AUDIENCE: I've got a simple melody which 392 00:21:15,350 --> 00:21:20,160 I'd like again to be played by the flute. 393 00:21:20,160 --> 00:21:22,700 Just sort of loop it around. 394 00:21:22,700 --> 00:21:27,950 I didn't explicitly say what notes were longer than others. 395 00:21:27,950 --> 00:21:32,790 But in the middle there I've got these three notes 396 00:21:32,790 --> 00:21:35,822 which I kind of wanted everyone to get in on, specifically. 397 00:21:35,822 --> 00:21:37,280 AUDIENCE: Those notes specifically, 398 00:21:37,280 --> 00:21:39,426 like those exact notes? 399 00:21:39,426 --> 00:21:41,300 AUDIENCE: Oh, yeah, specifically those notes. 400 00:21:41,300 --> 00:21:44,530 So everyone play like in unison, or as you 401 00:21:44,530 --> 00:21:50,520 get further along, yeah. 402 00:21:50,520 --> 00:21:54,026 AUDIENCE: So we should all play the whole time, 403 00:21:54,026 --> 00:21:56,150 but those three notes, we play the notes in unison? 404 00:21:56,150 --> 00:21:58,530 AUDIENCE: Everyone's playing the whole time. 405 00:21:58,530 --> 00:22:00,770 Maybe at the start, actually, the first time through, 406 00:22:00,770 --> 00:22:02,014 just the piano. 407 00:22:02,014 --> 00:22:04,230 And then when you loop around, then you guys come in. 408 00:22:04,230 --> 00:22:08,230 And for you guys, so it's E Phrygian. 409 00:22:08,230 --> 00:22:10,390 Stick with the E most of the time, 410 00:22:10,390 --> 00:22:15,599 but also at least at the start bring in the A and the B, 411 00:22:15,599 --> 00:22:16,140 specifically. 412 00:22:16,140 --> 00:22:18,310 And it's not [INAUDIBLE]. 413 00:22:18,310 --> 00:22:22,346 414 00:22:22,346 --> 00:22:24,520 AUDIENCE: Can we play the mode all the time, too? 415 00:22:24,520 --> 00:22:28,360 416 00:22:28,360 --> 00:22:32,200 It's just one at a time? 417 00:22:32,200 --> 00:22:35,100 Do you know? 418 00:22:35,100 --> 00:22:37,375 AUDIENCE: It's just all the white notes, from E to E. 419 00:22:37,375 --> 00:22:40,112 [INSTRUMENTS WARMING UP] 420 00:22:40,112 --> 00:22:45,072 421 00:22:45,072 --> 00:22:48,048 [FLUTE AND PIANO PLAYING] 422 00:22:48,048 --> 00:22:58,464 423 00:22:58,464 --> 00:23:01,440 [TRUMPET AND BANJO ENTER] 424 00:23:01,440 --> 00:24:13,248 425 00:24:13,248 --> 00:24:16,535 [APPLAUSE] 426 00:24:16,535 --> 00:24:17,410 PROFESSOR: Very nice. 427 00:24:17,410 --> 00:24:19,549 And so was this one mode or two modes? 428 00:24:19,549 --> 00:24:21,840 AUDIENCE: No, that's just one mode, just the E Phrygian 429 00:24:21,840 --> 00:24:22,250 throughout. 430 00:24:22,250 --> 00:24:23,291 PROFESSOR: Just one mode. 431 00:24:23,291 --> 00:24:23,815 Very nice. 432 00:24:23,815 --> 00:24:24,315 Very nice. 433 00:24:24,315 --> 00:24:27,890 And was your part prescribed, or were you improvising? 434 00:24:27,890 --> 00:24:29,575 AUDIENCE: So there were three notes sort 435 00:24:29,575 --> 00:24:30,616 of in the middle of that. 436 00:24:30,616 --> 00:24:35,280 The do do do do do, do do do do do do do. 437 00:24:35,280 --> 00:24:37,820 I guess I'm not quite singing it in key But, yeah. 438 00:24:37,820 --> 00:24:39,700 So there were three notes where every time it 439 00:24:39,700 --> 00:24:41,670 was prescribed, other than that, improvising. 440 00:24:41,670 --> 00:24:42,610 PROFESSOR: OK, good. 441 00:24:42,610 --> 00:24:44,990 And the same for you other folks? 442 00:24:44,990 --> 00:24:45,560 Very nice. 443 00:24:45,560 --> 00:24:46,060 Very nice. 444 00:24:46,060 --> 00:24:47,005 But you were playing the melody. 445 00:24:47,005 --> 00:24:48,676 AUDIENCE: I had the melody, yeah. 446 00:24:48,676 --> 00:24:49,550 PROFESSOR: Very nice. 447 00:24:49,550 --> 00:24:50,050 Good. 448 00:24:50,050 --> 00:24:51,964 Good, good. 449 00:24:51,964 --> 00:24:54,201 [VIOLIN AND GUITAR PLAYING] 450 00:24:54,201 --> 00:26:31,053 451 00:26:31,053 --> 00:26:33,041 [APPLAUSE] 452 00:26:33,041 --> 00:26:34,150 PROFESSOR: Very nice. 453 00:26:34,150 --> 00:26:37,210 So you actually had chords written down, chords symboled, 454 00:26:37,210 --> 00:26:38,750 which is an interesting way to go. 455 00:26:38,750 --> 00:26:41,020 We haven't had that yet today, I don't think. 456 00:26:41,020 --> 00:26:42,923 We might have, did you have chords in yours? 457 00:26:42,923 --> 00:26:43,724 AUDIENCE: Yeah. 458 00:26:43,724 --> 00:26:45,890 PROFESSOR: Because I was going to write that on top. 459 00:26:45,890 --> 00:26:47,610 I did want to mention some on that. 460 00:26:47,610 --> 00:26:49,847 So that's an interesting way to think about it. 461 00:26:49,847 --> 00:26:51,430 And we can explore this a little more. 462 00:26:51,430 --> 00:26:52,590 I don't want to take time now. 463 00:26:52,590 --> 00:26:54,590 But that's an interesting way to think about it. 464 00:26:54,590 --> 00:26:56,040 It's another facet. 465 00:26:56,040 --> 00:26:57,620 Just try this. 466 00:26:57,620 --> 00:27:00,880 Take those first five notes, and play them 467 00:27:00,880 --> 00:27:04,170 a little more like a rhythmical idea, like this. 468 00:27:04,170 --> 00:27:06,030 Bop, ba bo be bop. 469 00:27:06,030 --> 00:27:08,600 [VIOLIN AND GUITAR PLAYING] 470 00:27:08,600 --> 00:27:09,930 And then the next one. 471 00:27:09,930 --> 00:27:12,680 [VIOLIN AND GUITAR PLAYING] And then the next five, same way. 472 00:27:12,680 --> 00:27:15,092 Bop, ba doo be doo. 473 00:27:15,092 --> 00:27:18,736 [VIOLIN AND GUITAR PLAYING] And the next, bop, ba da be dop. 474 00:27:18,736 --> 00:27:20,830 [VIOLIN AND GUITAR PLAYING] Yeah, 475 00:27:20,830 --> 00:27:23,260 just do that do that over and over again. 476 00:27:23,260 --> 00:27:27,982 And Alex, play those same chords, but in time now. 477 00:27:27,982 --> 00:27:29,940 So I'm going to count this off. [CLAPPING] One, 478 00:27:29,940 --> 00:27:32,440 two, one, two, three, four. 479 00:27:32,440 --> 00:27:35,296 [CLAPPING AND INSTRUMENTS PLAYING] 480 00:27:35,296 --> 00:27:43,670 481 00:27:43,670 --> 00:27:44,170 OK. 482 00:27:44,170 --> 00:27:46,461 I'm just showing that because this would be another way 483 00:27:46,461 --> 00:27:48,380 to make a variation of what you'd done. 484 00:27:48,380 --> 00:27:50,000 In other words, similar to Silent Way, 485 00:27:50,000 --> 00:27:52,770 you've got your lyrical thing up front. 486 00:27:52,770 --> 00:27:56,260 And then you could turn it into a rhythmical gesture, 487 00:27:56,260 --> 00:27:56,760 let's say. 488 00:27:56,760 --> 00:27:58,810 And if you had yet a third instrument, 489 00:27:58,810 --> 00:28:00,870 you guys could be essentially the rhythm section, 490 00:28:00,870 --> 00:28:02,910 and somebody else, oboe, whatever, flute, 491 00:28:02,910 --> 00:28:04,590 could take a solo on top of that. 492 00:28:04,590 --> 00:28:07,270 It's just another thing to think about in terms of extension. 493 00:28:07,270 --> 00:28:07,870 Very nice. 494 00:28:07,870 --> 00:28:09,938 Very nice. 495 00:28:09,938 --> 00:28:13,410 [FLUTE PLAYING] 496 00:28:13,410 --> 00:28:19,858 497 00:28:19,858 --> 00:28:22,834 [GUITAR ENTERS] 498 00:28:22,834 --> 00:29:32,647 499 00:29:32,647 --> 00:29:34,126 [APPLAUSE] 500 00:29:34,126 --> 00:29:36,170 PROFESSOR: Now, did you have a written part? 501 00:29:36,170 --> 00:29:36,850 AUDIENCE: No. 502 00:29:36,850 --> 00:29:38,470 PROFESSOR: You were just making something up. 503 00:29:38,470 --> 00:29:39,000 AUDIENCE: I was making that up. 504 00:29:39,000 --> 00:29:39,690 PROFESSOR: You were improvising. 505 00:29:39,690 --> 00:29:41,273 In other words, you were playing this. 506 00:29:41,273 --> 00:29:44,860 507 00:29:44,860 --> 00:29:46,796 So you had a rhythmical scheme, but you 508 00:29:46,796 --> 00:29:47,920 didn't put a meter with it. 509 00:29:47,920 --> 00:29:49,510 So it wasn't like 4 4 or 6. 510 00:29:49,510 --> 00:29:50,550 That was very nice. 511 00:29:50,550 --> 00:29:52,366 Very nice. 512 00:29:52,366 --> 00:29:54,740 I was figuring you'd keep going until one of you dropped, 513 00:29:54,740 --> 00:29:56,120 mainly you, because you have to keep breathing. 514 00:29:56,120 --> 00:29:57,230 But that was really nice. 515 00:29:57,230 --> 00:29:57,980 That was really nice. 516 00:29:57,980 --> 00:29:59,740 We could've gotten everybody involved in that. 517 00:29:59,740 --> 00:30:00,980 That would have taken up about an hour. 518 00:30:00,980 --> 00:30:01,670 That would have been great. 519 00:30:01,670 --> 00:30:02,980 So just something to remember. 520 00:30:02,980 --> 00:30:06,889 If you get hired for a job sometime 521 00:30:06,889 --> 00:30:08,680 and you run out of material, you can always 522 00:30:08,680 --> 00:30:10,436 do something like this. 523 00:30:10,436 --> 00:30:13,425 You can fill up easily 5 minutes, 30 minutes, 524 00:30:13,425 --> 00:30:14,220 and you're golden. 525 00:30:14,220 --> 00:30:17,300 So if you run out of your set list, just a practical tip. 526 00:30:17,300 --> 00:30:17,820 Very nice. 527 00:30:17,820 --> 00:30:20,430 So if you want to put your name on that and let me have that. 528 00:30:20,430 --> 00:30:23,390 So I guess you guys have to run. 529 00:30:23,390 --> 00:30:25,210 While they're leaving and the next person 530 00:30:25,210 --> 00:30:26,710 decides who wants to be, I just want 531 00:30:26,710 --> 00:30:30,040 to say a thing about chords. 532 00:30:30,040 --> 00:30:31,707 And I know, Jacob, this is your piece. 533 00:30:31,707 --> 00:30:33,040 So I don't want to say anything. 534 00:30:33,040 --> 00:30:34,770 But you had said D Dorian, you also 535 00:30:34,770 --> 00:30:38,400 put D minor, D minor chord, to indicate 536 00:30:38,400 --> 00:30:40,740 you wanted a D minor chord. 537 00:30:40,740 --> 00:30:41,420 And that's fine. 538 00:30:41,420 --> 00:30:42,520 That's perfectly fine. 539 00:30:42,520 --> 00:30:47,590 Sometimes-- and you see this on the lead sheet for So What, 540 00:30:47,590 --> 00:30:49,750 which we looked at, and we've studied it-- 541 00:30:49,750 --> 00:30:52,790 it'll say D Dorian D minor 7. 542 00:30:52,790 --> 00:30:56,100 It's a shorthand for saying that's a chord that 543 00:30:56,100 --> 00:30:58,200 works with the D Dorian scale. 544 00:30:58,200 --> 00:31:01,400 But in fact, it's often not so good to use this. 545 00:31:01,400 --> 00:31:03,552 It's much better just to put the mode, 546 00:31:03,552 --> 00:31:06,010 because if you do that, then the piano player's immediately 547 00:31:06,010 --> 00:31:09,060 going to think, let me play that four note 548 00:31:09,060 --> 00:31:12,300 chord, which is triads. 549 00:31:12,300 --> 00:31:14,330 And triads, remember, is not the sound 550 00:31:14,330 --> 00:31:15,770 that we typically want with modal. 551 00:31:15,770 --> 00:31:19,750 We want a quartal, like a fourth base thing. 552 00:31:19,750 --> 00:31:22,710 So when people do this and they put that down there, 553 00:31:22,710 --> 00:31:26,291 sometimes you're sort of snapped into that other way 554 00:31:26,291 --> 00:31:26,790 of thinking. 555 00:31:26,790 --> 00:31:27,850 It's not that it's wrong. 556 00:31:27,850 --> 00:31:33,310 It's just not quite into the idiom 557 00:31:33,310 --> 00:31:35,400 of what we're trying to do with modal stuff. 558 00:31:35,400 --> 00:31:36,610 So OK. 559 00:31:36,610 --> 00:31:37,260 Thank you all. 560 00:31:37,260 --> 00:31:38,797 So who would like to go next? 561 00:31:38,797 --> 00:31:41,088 AUDIENCE: I guess we can start with a saxophone melody. 562 00:31:41,088 --> 00:31:44,560 There's like a vague rhythm, but you can definitely 563 00:31:44,560 --> 00:31:49,520 change that, especially after the first run-through. 564 00:31:49,520 --> 00:31:52,335 Electric guitar, you'd start out just 565 00:31:52,335 --> 00:31:54,562 like emphasizing the D and any other notes basically 566 00:31:54,562 --> 00:31:56,790 you feel like, and then you can basically 567 00:31:56,790 --> 00:32:00,255 transition to the melody yourself 568 00:32:00,255 --> 00:32:02,730 whenever you feel like it. 569 00:32:02,730 --> 00:32:05,700 And feel free to change up the notes [INAUDIBLE]. 570 00:32:05,700 --> 00:32:17,842 571 00:32:17,842 --> 00:32:20,720 [SAXOPHONE PLAYING] 572 00:32:20,720 --> 00:32:33,898 573 00:32:33,898 --> 00:32:36,862 [ELECTRIC GUITAR ENTERS] 574 00:32:36,862 --> 00:34:03,385 575 00:34:03,385 --> 00:34:07,573 [APPLAUSE] 576 00:34:07,573 --> 00:34:08,989 PROFESSOR: So that again, that was 577 00:34:08,989 --> 00:34:12,130 like, what, a single melody and that's all. 578 00:34:12,130 --> 00:34:15,260 Just some verbal instructions to-- Very good. 579 00:34:15,260 --> 00:34:16,159 Very nice. 580 00:34:16,159 --> 00:34:18,440 Very nicely played. 581 00:34:18,440 --> 00:34:20,040 OK let's keep moving along. 582 00:34:20,040 --> 00:34:23,130 And I want to urge us, if we could 583 00:34:23,130 --> 00:34:25,232 make the presentation just a little bit shorter, 584 00:34:25,232 --> 00:34:26,940 just to make sure everybody gets a chance 585 00:34:26,940 --> 00:34:28,090 to have their thing heard. 586 00:34:28,090 --> 00:34:31,090 So who would like to go next? 587 00:34:31,090 --> 00:34:31,840 AUDIENCE: Alright. 588 00:34:31,840 --> 00:34:36,670 So this for a flute and a piano. 589 00:34:36,670 --> 00:34:38,164 So it's Dorian. 590 00:34:38,164 --> 00:34:39,909 And it's just a basic melody. 591 00:34:39,909 --> 00:34:41,880 So what I wanted was like the flute 592 00:34:41,880 --> 00:34:44,389 to just like start the melody and just keep 593 00:34:44,389 --> 00:34:45,590 looping back through it. 594 00:34:45,590 --> 00:34:46,940 And it has a rhythm. 595 00:34:46,940 --> 00:34:49,540 And then I wanted the piano to just, I guess, 596 00:34:49,540 --> 00:34:51,559 add their own improvisation to it. 597 00:34:51,559 --> 00:34:54,791 598 00:34:54,791 --> 00:34:57,391 [FLUTE PLAYING] 599 00:34:57,391 --> 00:35:00,849 600 00:35:00,849 --> 00:35:03,813 [PIANO ENTERS] 601 00:35:03,813 --> 00:35:37,382 602 00:35:37,382 --> 00:35:41,846 [APPLAUSE] 603 00:35:41,846 --> 00:35:42,860 PROFESSOR: Very nice. 604 00:35:42,860 --> 00:35:43,985 Piano, what were you doing? 605 00:35:43,985 --> 00:35:46,290 Were you leading off what that was? 606 00:35:46,290 --> 00:35:48,091 Were you reading off that melody? 607 00:35:48,091 --> 00:35:49,715 AUDIENCE: Yeah, so I was trying to sort 608 00:35:49,715 --> 00:35:53,220 of align the rhythms, playing mostly the fourths. 609 00:35:53,220 --> 00:35:54,990 PROFESSOR: So you were making that up, 610 00:35:54,990 --> 00:35:58,148 the fourth idea, but you were following that. 611 00:35:58,148 --> 00:36:00,306 AUDIENCE: Yeah, I didn't play any of melody. 612 00:36:00,306 --> 00:36:03,232 I was just sort of trying to match it. 613 00:36:03,232 --> 00:36:05,690 PROFESSOR: Who did that sound like to you, or anybody else? 614 00:36:05,690 --> 00:36:07,939 What did that sound like, that piano and flute playing 615 00:36:07,939 --> 00:36:09,320 together? 616 00:36:09,320 --> 00:36:10,730 AUDIENCE: Rite of Spring. 617 00:36:10,730 --> 00:36:12,190 PROFESSOR: Little bit, little bit. 618 00:36:12,190 --> 00:36:16,000 Anybody else, classical, any other classical? 619 00:36:16,000 --> 00:36:18,560 Sounded very much like a Ravel to me. 620 00:36:18,560 --> 00:36:22,995 And in the Kind of Blue situation, 621 00:36:22,995 --> 00:36:25,370 I don't know if you've read the pages that were up there. 622 00:36:25,370 --> 00:36:28,390 I don't know if this was in those pages I put on Stellar. 623 00:36:28,390 --> 00:36:30,370 It talked about how both Bill Evans and Miles 624 00:36:30,370 --> 00:36:32,215 Davis adored Ravel. 625 00:36:32,215 --> 00:36:33,840 And that in fact, when they would 626 00:36:33,840 --> 00:36:35,680 listen to music in their own apartments, 627 00:36:35,680 --> 00:36:37,360 that's who they often would listen to. 628 00:36:37,360 --> 00:36:39,175 Interesting for a jazz person. 629 00:36:39,175 --> 00:36:42,350 And that that was very definitely in Bill Evans' mind. 630 00:36:42,350 --> 00:36:44,930 So you're channeling this. 631 00:36:44,930 --> 00:36:45,770 So this is great. 632 00:36:45,770 --> 00:36:47,110 It was beautiful. 633 00:36:47,110 --> 00:36:48,330 Beautiful flute playing. 634 00:36:48,330 --> 00:36:49,350 Very, very nice idea. 635 00:36:49,350 --> 00:36:51,980 Really nice idea. 636 00:36:51,980 --> 00:36:52,480 Wonderful. 637 00:36:52,480 --> 00:36:54,980 And I'm getting a kick out of the fact that most of you guys 638 00:36:54,980 --> 00:36:56,460 are not playing on your own piece. 639 00:36:56,460 --> 00:36:57,460 That's very interesting. 640 00:36:57,460 --> 00:36:59,168 Because you want to hear what's going on. 641 00:36:59,168 --> 00:37:00,000 I understand that. 642 00:37:00,000 --> 00:37:03,115 AUDIENCE: So basically I would like the guitar 643 00:37:03,115 --> 00:37:05,860 to start off playing the melody and kind of set 644 00:37:05,860 --> 00:37:07,840 up a cycle of some sort. 645 00:37:07,840 --> 00:37:16,690 And then I'd like Sarah to improvise over his melody, 646 00:37:16,690 --> 00:37:19,710 but starting with notes beginning from right to left, 647 00:37:19,710 --> 00:37:20,480 if that's OK. 648 00:37:20,480 --> 00:37:24,127 649 00:37:24,127 --> 00:37:25,069 I hope it works. 650 00:37:25,069 --> 00:37:26,490 I'm not exactly sure yet. 651 00:37:26,490 --> 00:37:29,080 And then I would like you to play, I guess, 652 00:37:29,080 --> 00:37:32,450 whatever cycle he sets up if you could just play chords 653 00:37:32,450 --> 00:37:38,448 under it, but I guess I'd like half to be your own, yeah. 654 00:37:38,448 --> 00:37:43,388 655 00:37:43,388 --> 00:37:46,352 [GUITAR PLAYING] 656 00:37:46,352 --> 00:37:54,870 657 00:37:54,870 --> 00:37:58,300 [FLUTE AND PIANO ENTER] 658 00:37:58,300 --> 00:38:52,435 659 00:38:52,435 --> 00:38:54,415 [APPLAUSE] 660 00:38:54,415 --> 00:38:56,522 PROFESSOR: Very nice. 661 00:38:56,522 --> 00:38:57,980 And again, you didn't sing on this. 662 00:38:57,980 --> 00:38:58,980 That's very interesting. 663 00:38:58,980 --> 00:39:00,316 I was sure you were going to. 664 00:39:00,316 --> 00:39:01,024 AUDIENCE: Oh, no. 665 00:39:01,024 --> 00:39:02,180 That's fine. 666 00:39:02,180 --> 00:39:03,430 PROFESSOR: That was very nice. 667 00:39:03,430 --> 00:39:04,971 And actually I think it's interesting 668 00:39:04,971 --> 00:39:08,280 how these are just emerging, just 669 00:39:08,280 --> 00:39:11,200 by the way people are volunteering. 670 00:39:11,200 --> 00:39:14,390 But this sort of could be a perfect complement 671 00:39:14,390 --> 00:39:16,005 to what your piece was. 672 00:39:16,005 --> 00:39:17,380 I mean it would make sense to me. 673 00:39:17,380 --> 00:39:19,977 674 00:39:19,977 --> 00:39:21,560 And some of the rhythmical people, you 675 00:39:21,560 --> 00:39:23,555 were clearly on a similar wave. 676 00:39:23,555 --> 00:39:26,800 AUDIENCE: So sax is going to play the melody, 677 00:39:26,800 --> 00:39:28,430 and the rest of us will just play 678 00:39:28,430 --> 00:39:31,321 like soft chords in D Dorian. 679 00:39:31,321 --> 00:39:32,880 I wrote out a pretty specific rhythm, 680 00:39:32,880 --> 00:39:35,965 but you can take whatever liberty you want. 681 00:39:35,965 --> 00:39:37,009 AUDIENCE: What is this? 682 00:39:37,009 --> 00:39:39,050 AUDIENCE: This is just the transposition of that. 683 00:39:39,050 --> 00:39:39,870 AUDIENCE: That makes sense, OK. 684 00:39:39,870 --> 00:39:41,286 AUDIENCE: So it should be D minor. 685 00:39:41,286 --> 00:39:45,340 686 00:39:45,340 --> 00:39:48,081 [INSTRUMENTS PLAYING] 687 00:39:48,081 --> 00:41:02,134 688 00:41:02,134 --> 00:41:04,619 [APPLAUSE] 689 00:41:04,619 --> 00:41:07,396 PROFESSOR: Very nice, very nice. 690 00:41:07,396 --> 00:41:10,701 I feel we're in the realm of French impressionistic music, 691 00:41:10,701 --> 00:41:11,200 here. 692 00:41:11,200 --> 00:41:12,946 This is lovely. 693 00:41:12,946 --> 00:41:14,482 Very peaceful. 694 00:41:14,482 --> 00:41:16,582 Did that work like you thought it would, 695 00:41:16,582 --> 00:41:17,790 except for the transposition? 696 00:41:17,790 --> 00:41:18,650 AUDIENCE: Pretty much, yeah. 697 00:41:18,650 --> 00:41:19,650 Just in a different key. 698 00:41:19,650 --> 00:41:21,760 There was one note that was, I don't know. 699 00:41:21,760 --> 00:41:22,485 This one. 700 00:41:22,485 --> 00:41:25,515 I don't know what happened to that, but. 701 00:41:25,515 --> 00:41:26,140 AUDIENCE: Yeah. 702 00:41:26,140 --> 00:41:31,210 So where I was doing B Dorian on the sax, that 703 00:41:31,210 --> 00:41:33,580 should have been a G sharp, I think, 704 00:41:33,580 --> 00:41:36,200 so I just made that change. 705 00:41:36,200 --> 00:41:38,330 But yeah, it did sound kind of weird. 706 00:41:38,330 --> 00:41:40,915 AUDIENCE: But the general was basically what I was going for. 707 00:41:40,915 --> 00:41:41,790 PROFESSOR: Very nice. 708 00:41:41,790 --> 00:41:42,289 Very nice. 709 00:41:42,289 --> 00:41:44,166 OK, who wants to go next? 710 00:41:44,166 --> 00:41:47,440 Of our remaining contestants. 711 00:41:47,440 --> 00:41:50,440 [PIANO PLAYING] 712 00:41:50,440 --> 00:41:56,870 713 00:41:56,870 --> 00:41:59,870 [FLUTE AND OBOE ENTER] 714 00:41:59,870 --> 00:42:54,870 715 00:42:54,870 --> 00:42:56,870 [APPLAUSE] 716 00:42:56,870 --> 00:42:57,870 PROFESSOR: Really nice. 717 00:42:57,870 --> 00:42:59,730 So if I got from your instructions, 718 00:42:59,730 --> 00:43:02,825 sort of like intertwining or interlocking segments, 719 00:43:02,825 --> 00:43:04,100 is that the idea? 720 00:43:04,100 --> 00:43:06,660 AUDIENCE: Yeah, that was kind of again that train wreck. 721 00:43:06,660 --> 00:43:09,350 I think I need to fix my reed up. 722 00:43:09,350 --> 00:43:10,800 But that's sounded really nice. 723 00:43:10,800 --> 00:43:12,664 And I expected it, and it was cool. 724 00:43:12,664 --> 00:43:13,330 PROFESSOR: Yeah. 725 00:43:13,330 --> 00:43:14,370 Really, really nice. 726 00:43:14,370 --> 00:43:15,820 Very well done. 727 00:43:15,820 --> 00:43:18,820 [PIANO PLAYING] 728 00:43:18,820 --> 00:43:25,284 729 00:43:25,284 --> 00:43:28,756 [TRUMPET ENTERS] 730 00:43:28,756 --> 00:43:34,708 731 00:43:34,708 --> 00:43:37,684 [SAXOPHONE ENTERS] 732 00:43:37,684 --> 00:44:25,915 733 00:44:25,915 --> 00:44:26,415 [APPLAUSE] 734 00:44:26,415 --> 00:44:28,970 AUDIENCE: Very nice, very nice. 735 00:44:28,970 --> 00:44:30,120 Cool. 736 00:44:30,120 --> 00:44:31,149 Cool. 737 00:44:31,149 --> 00:44:32,940 AUDIENCE: So I don't have anything written. 738 00:44:32,940 --> 00:44:35,273 I'm just going, I guess, for more of an open conception. 739 00:44:35,273 --> 00:44:39,240 But I was thinking just me and piano, if that's good. 740 00:44:39,240 --> 00:44:43,180 So I was thinking in D Dorian. 741 00:44:43,180 --> 00:44:48,370 So the only real, like, solid concept, I have, 742 00:44:48,370 --> 00:44:53,115 like, something of a melody. 743 00:44:53,115 --> 00:44:56,085 [SAXOPHONE PLAYING] 744 00:44:56,085 --> 00:45:03,410 745 00:45:03,410 --> 00:45:05,440 AUDIENCE: So I guess I was thinking 746 00:45:05,440 --> 00:45:08,100 I would just kind of riff off of that. 747 00:45:08,100 --> 00:45:11,250 And I wanted it to have kind of like a minor sound, I guess. 748 00:45:11,250 --> 00:45:14,394 So I don't know, I guess you kind of do 749 00:45:14,394 --> 00:45:15,310 what you want with it. 750 00:45:15,310 --> 00:45:19,100 AUDIENCE: Do you want like a beat, or just sort of chords? 751 00:45:19,100 --> 00:45:21,030 AUDIENCE: I mean, I guess more of chords. 752 00:45:21,030 --> 00:45:21,530 Yeah. 753 00:45:21,530 --> 00:45:24,920 754 00:45:24,920 --> 00:45:27,600 So I guess you can start it off. 755 00:45:27,600 --> 00:45:30,588 756 00:45:30,588 --> 00:45:33,576 [PIANO PLAYING] 757 00:45:33,576 --> 00:45:39,054 758 00:45:39,054 --> 00:45:42,540 [SAXOPHONE ENTERS] 759 00:45:42,540 --> 00:47:06,000 760 00:47:06,000 --> 00:47:08,147 [APPLAUSE] 761 00:47:08,147 --> 00:47:09,480 PROFESSOR: Very nice, very nice. 762 00:47:09,480 --> 00:47:12,430 And I was waiting for someone to do this, not 763 00:47:12,430 --> 00:47:13,597 have anything written down. 764 00:47:13,597 --> 00:47:14,222 AUDIENCE: Yeah. 765 00:47:14,222 --> 00:47:15,160 I can get something to you next week. 766 00:47:15,160 --> 00:47:16,520 PROFESSOR: No, no no. 767 00:47:16,520 --> 00:47:19,410 But I was waiting for that, because that's often 768 00:47:19,410 --> 00:47:23,490 how our improvisational conceptions generate. 769 00:47:23,490 --> 00:47:25,590 I mean, I ask you to come up with something. 770 00:47:25,590 --> 00:47:27,900 But I don't think I said write it down. 771 00:47:27,900 --> 00:47:29,490 I said come up with something. 772 00:47:29,490 --> 00:47:32,080 And writing it down is perfectly fine. 773 00:47:32,080 --> 00:47:35,700 And yours was almost all hand written with a couple notes. 774 00:47:35,700 --> 00:47:37,510 Other people had just the notes. 775 00:47:37,510 --> 00:47:39,190 Other people had some notes and chords. 776 00:47:39,190 --> 00:47:41,090 Any of these are fine. 777 00:47:41,090 --> 00:47:44,000 But they just give us a generative point 778 00:47:44,000 --> 00:47:44,900 from which the work. 779 00:47:44,900 --> 00:47:45,733 So it was very cool. 780 00:47:45,733 --> 00:47:49,370 And obviously, what happened in each of these instances 781 00:47:49,370 --> 00:47:52,150 was way more than what you had on paper. 782 00:47:52,150 --> 00:47:52,980 That's the idea. 783 00:47:52,980 --> 00:47:55,926 In other words, these are wonderful. 784 00:47:55,926 --> 00:47:57,550 And if you didn't give me one of these, 785 00:47:57,550 --> 00:48:01,280 and you had it as a written out form, I need to see that. 786 00:48:01,280 --> 00:48:04,850 But the point is what happened in the room is the music. 787 00:48:04,850 --> 00:48:06,119 That's the music. 788 00:48:06,119 --> 00:48:07,410 These were all starting points. 789 00:48:07,410 --> 00:48:08,576 These were all springboards. 790 00:48:08,576 --> 00:48:10,930 So you're all doing wonderfully. 791 00:48:10,930 --> 00:48:13,270 So give yourselves a round of applause, really. 792 00:48:13,270 --> 00:48:13,380 Really nice. 793 00:48:13,380 --> 00:48:13,879 Really nice. 794 00:48:13,879 --> 00:48:15,645 [APPLAUSE] 795 00:48:15,645 --> 00:48:19,050 PROFESSOR: So that's it. 796 00:48:19,050 --> 00:48:20,101