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PROFESSOR: OK, so let's move
into are our topic for the day.

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So we've got a couple of things.

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We're going to talk a little
bit about In a Silent Way.

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And then I want to
have us have a chance

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to present what
you have created.

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And we'll see how this goes.

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So this is pretty much, at least
in the second part, unknown.

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We don't know what's
going to happen.

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So it should be interesting.

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But in terms of In
a Silent Way, did

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everybody get to listen to that?

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And what do you make of
that composition, called

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In a Silent Way by Miles Davis?

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What do you make of that?

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What did you hear happening?

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00:01:07,865 --> 00:01:12,478

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AUDIENCE: It seemed modal, so it
didn't have any definite chord

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changes, which I think
gave it sort of like a,

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like, spacey
ambiguous feel to it.

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PROFESSOR: OK.

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Good.

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Modal, spacey, ambiguous.

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Anybody else?

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AUDIENCE: A lot of the melody
and things were also ambiguous.

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There were a few clear
themes that would repeat,

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but there was a
lot of just sounds.

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That was cool.

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PROFESSOR: Sounds, OK.

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AUDIENCE: The instrumentation
was just very different

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from the other Miles Davis
pieces we'd listened to,

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and the style and
everything, like it being

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so like a slow, laid-back,
almost free-flowing piece,

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with a more I guess like
electronic feel to it.

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But that was interesting.

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PROFESSOR: Right.

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And because, what were
some of the accompanying

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instruments in this?

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AUDIENCE: It sounded maybe
like a synth, I want to say.

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Was that a synth?

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PROFESSOR: Fender Rhodes.

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Actually, two
Fender Rhodes piano,

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which is sort of old school.

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But you see these around a lot.

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In fact, we have
one at MIT, which

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the current pianist
with the FJE likes

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to call it out and play it.

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So that's great.

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And somebody playing the
organ, as well as that.

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What else?

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What else did you
hear, instruments?

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AUDIENCE: How prominent
the instruments

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were to one another was more
uniform than the recordings

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we've listened to.

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PROFESSOR: Meaning?

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AUDIENCE: Like, it's not like
that obviously the trumpet

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had the lead the whole time.

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PROFESSOR: Right.

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So a lot more diversity
of who is sort of

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in the lead and
that kind of thing.

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Was it only that sort of
ambiguous free floating sound?

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Was it only that, are
did it do something else?

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AUDIENCE: Well, after a
few minutes [INAUDIBLE]

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PROFESSOR: OK, a regular beat.

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And what was the
rhythmic feel there?

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AUDIENCE: [INAUDIBLE]

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PROFESSOR: But I mean,
was it jazz, was it--

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AUDIENCE: [INAUDIBLE]

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PROFESSOR: Percussive.

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OK.

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Anybody else have
a term that could

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characterize what it went into?

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We all heard the piece, right?

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And it was a fairly
long piece, right,

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like about 20 minute piece?

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OK.

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I was sure you would catch this.

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It goes into essentially
a rock kind of a feel.

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It's a more subtle
rock feel than what

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you would have heard from
a rock band in that period.

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But nonetheless, that's
what it's going to.

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This became sort of
the signature piece

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that moved jazz into what was
called jazz rock or fusion.

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In 1969 is when this came out.

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And in fact, this middle
part is the longest part

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of the whole piece.

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It's where most of
the soloing happens.

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And then it returns to this sort
of quieter, more lyrical thing

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at the end.

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And I put these
names of the board,

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because it turns out
that this is actually

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a piece that was put
together in the studio.

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It's a studio realization,
you could say.

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And the first part is
called In a Silent Way.

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That's composed by
Joe Zawinul, who

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was one of the three
keyboard players.

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That shows up at the
beginning and at the end.

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And in the middle is a piece
that both Zawinul and Miles

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Davis co-composed, called
It's About That Time, which

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is the more funky,
rock type of piece.

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And so they decided to
essentially blend these pieces.

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And the further
thing about this is

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this was an early
attempt by people

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in the studio, one guy in
particular, Teo Macero, who

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worked with Miles Davis a
lot, to essentially sort

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of you could say cut
and paste, because they

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used to have to splice tape
to make cuts and paste them

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back together.

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It's before digital editing.

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And so there's
some of that that's

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00:05:56,990 --> 00:05:58,860
going on in the middle section.

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00:05:58,860 --> 00:06:02,470
And in fact, the last
section is exactly what

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00:06:02,470 --> 00:06:04,310
was played for the
first four minutes.

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It's just a replica.

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It's a replication.

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It's the same exact music
just pasted in at the end.

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So it sort of calls
into a new perspective

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00:06:14,090 --> 00:06:18,105
what is improvisation and what
is jazz composition, really.

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And you're going
to have a chance

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00:06:19,480 --> 00:06:21,210
to talk with Neil
Leonard when he comes

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00:06:21,210 --> 00:06:24,850
in about another month about
exactly that, electronic usage,

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00:06:24,850 --> 00:06:26,880
computer usage, and
improvisation stuff.

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00:06:26,880 --> 00:06:29,490
But this is sort of
an early attempt.

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The other thing that I wanted
us to listen to this for

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is that this basically is a
jazz version of the format

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that we're going to hear on
Sunday at the Indian concert.

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Because how many people have
had the Music of India course?

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00:06:45,090 --> 00:06:46,310
Anybody have that course?

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You've had that.

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00:06:47,360 --> 00:06:48,400
Anybody else?

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And so you know that the way
that the music in the Raga

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tradition works is there's a
very slow presentation, as it's

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called, of the raga,
the main melody.

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00:06:59,610 --> 00:07:02,800
And then after that is
allowed to be stated

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00:07:02,800 --> 00:07:05,250
in a very lyrical,
free floating way,

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00:07:05,250 --> 00:07:09,030
then you get this rhythmic
sense with a particular cycle

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00:07:09,030 --> 00:07:11,370
or a tala that comes in.

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And so it's hard to believe that
Miles Davis was not influenced

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by John Coltrane,
who had previously

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been part of Miles' band.

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But Coltrane, as
many of you know,

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had explored the music of India.

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And so it's sort of
like a cross influence

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coming back from what
somebody had originally

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been a player in Miles' band
coming back to inform him.

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And this piece really has a very
Indian at least pattern to it,

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if not Indian music.

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It's not a raga, but it is
its own particular mode,

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as people have said.

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Anybody know what mode
it was, or did you

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00:07:47,260 --> 00:07:48,310
try to figure that out?

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00:07:48,310 --> 00:07:59,068

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AUDIENCE: Was it,
could it be in Dorian?

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Because it began with a flat
[INAUDIBLE] 7th, I think.

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PROFESSOR: OK.

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Anybody have a
different take on it?

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00:08:15,120 --> 00:08:22,860

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AUDIENCE: I figured out
which notes were in the mode,

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but I don't know if I
could remember them.

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I was playing along
to it, but I didn't

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think about what
the actual mode was.

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PROFESSOR: OK, but you
tried to play along with it.

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That's good.

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00:08:34,055 --> 00:08:34,680
AUDIENCE: Yeah.

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00:08:34,680 --> 00:08:37,820
I feel like I figured out
which notes that actually fit.

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AUDIENCE: Anybody remember what
was going on at the same time

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that the melody
was being played?

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00:08:42,265 --> 00:08:56,026

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00:08:56,026 --> 00:08:57,400
So obviously I'm
going to suggest

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you go listen to it again, so
we can hear more deeply inside

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of what's going on.

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00:09:03,860 --> 00:09:05,860
Let me just come over to
the piano for a second.

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00:09:05,860 --> 00:09:08,430
I made a brief transcription
of this melody.

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And what's going on
is-- if I can just

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get over there-- the
first thing that we

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have with this is a drone.

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A drone is just a long
note underneath the melody.

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And we've done that with
some of our exercises,

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00:09:22,020 --> 00:09:26,130
right, where we've just
had a basic tonal center.

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I didn't call it that,
but that's what it is.

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00:09:28,700 --> 00:09:29,910
Same thing in Indian music.

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00:09:29,910 --> 00:09:33,410
There's a drone established
by one of the instruments.

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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]

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00:09:37,751 --> 00:09:41,540
So you're always hearing this
E, and then it's actually,

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00:09:41,540 --> 00:09:42,520
this is the melody.

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00:09:42,520 --> 00:09:47,720
[PIANO PLAYING] It
starts on the third.

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00:09:47,720 --> 00:09:49,609
If you were in E and
you had E major chord,

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00:09:49,609 --> 00:09:52,150
it's actually the third of the
E major chord. [PIANO PLAYING]

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00:09:52,150 --> 00:09:53,630
But you never get that chord.

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00:09:53,630 --> 00:09:54,480
You just get this.

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00:09:54,480 --> 00:09:57,214
[PIANO PLAYING]

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00:09:57,214 --> 00:10:08,310

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00:10:08,310 --> 00:10:10,010
PROFESSOR: And that's
a big interval.

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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

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00:10:24,850 --> 00:10:29,630
PROFESSOR: And what that
is is E to D natural, which

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means that it's E essentially
mixolydian, because if you had

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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]

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00:10:52,552 --> 00:10:54,920
And it winds up on
the fifth, which

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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.

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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.

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00:11:12,420 --> 00:11:14,740
So obviously that
transferred over.

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00:11:14,740 --> 00:11:16,620
PROFESSOR: Deeply
influenced by this piece.

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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