WEBVTT 00:00:00.050 --> 00:00:01.670 The following content is provided 00:00:01.670 --> 00:00:03.810 under a Creative Commons license. 00:00:03.810 --> 00:00:06.540 Your support will help MIT OpenCourseWare continue 00:00:06.540 --> 00:00:10.120 to offer high quality educational resources for free. 00:00:10.120 --> 00:00:12.700 To make a donation or to view additional materials 00:00:12.700 --> 00:00:16.609 from hundreds of MIT courses, visit MIT OpenCourseWare 00:00:16.609 --> 00:00:17.575 at ocw.mit.edu. 00:00:21.240 --> 00:00:23.840 INSTRUCTOR: So welcome to the lab. 00:00:23.840 --> 00:00:25.950 I'm going to start off today-- mostly everything 00:00:25.950 --> 00:00:27.056 we'll do is be hands on. 00:00:27.056 --> 00:00:28.430 I'm going to start out today just 00:00:28.430 --> 00:00:32.750 to reiterate some of the things that we talked about 00:00:32.750 --> 00:00:37.370 last Monday, and to expand on a few of those ideas 00:00:37.370 --> 00:00:40.430 about what we're doing here. 00:00:40.430 --> 00:00:42.510 And the idea of this little introductory lecture 00:00:42.510 --> 00:00:46.420 is just to say, what's our purpose? 00:00:46.420 --> 00:00:48.790 What's the expectations? 00:00:48.790 --> 00:00:51.580 What are we doing here? 00:00:51.580 --> 00:00:54.340 Pretty much every place you go there's a set of expectations 00:00:54.340 --> 00:00:57.380 of what you're expected to do and what 00:00:57.380 --> 00:01:00.349 you're expected to be done to you. 00:01:00.349 --> 00:01:02.390 And it's very different depending on what you do. 00:01:02.390 --> 00:01:03.810 If you go to a baseball game, it's 00:01:03.810 --> 00:01:06.120 a totally different set of expectations 00:01:06.120 --> 00:01:10.020 of both what you're allowed and prepared to do 00:01:10.020 --> 00:01:14.690 and what you're expecting to see then if you went to a concert 00:01:14.690 --> 00:01:17.447 or if you went to a physics class. 00:01:17.447 --> 00:01:18.280 All different stuff. 00:01:18.280 --> 00:01:20.430 All different sets of expectations. 00:01:20.430 --> 00:01:24.580 All different ideas about what we're doing here. 00:01:24.580 --> 00:01:27.320 So this little thing is to give you 00:01:27.320 --> 00:01:28.719 an idea of what this is about. 00:01:28.719 --> 00:01:29.635 What we're doing here. 00:01:32.180 --> 00:01:34.609 The first thing-- which to me is the most important thing 00:01:34.609 --> 00:01:36.900 we already touched on in the last class-- which is just 00:01:36.900 --> 00:01:39.076 the idea that we're all improvisers. 00:01:39.076 --> 00:01:41.960 That simply by virtue of being a human, 00:01:41.960 --> 00:01:45.410 you're already a master improviser. 00:01:45.410 --> 00:01:49.680 Where I go from there is that humans are also oral creatures. 00:01:49.680 --> 00:01:54.240 We understand the world through sound a lot. 00:01:54.240 --> 00:01:57.170 Not only through talking, not only 00:01:57.170 --> 00:02:00.070 through our experience of the sounds of other humans, 00:02:00.070 --> 00:02:02.760 but also the sounds in the world inform us 00:02:02.760 --> 00:02:06.820 all the time in all different kinds of ways. 00:02:06.820 --> 00:02:09.960 And also each of us grows up surrounded by music and sound. 00:02:09.960 --> 00:02:15.400 We all have a personal universe of sound that is ours. 00:02:15.400 --> 00:02:19.080 In this class and in this lab, what we'll be doing 00:02:19.080 --> 00:02:24.260 a lot is dealing with how to marry our awareness that we 00:02:24.260 --> 00:02:28.500 have from growing up as improvising people 00:02:28.500 --> 00:02:32.010 to our awareness of our understanding of sound. 00:02:32.010 --> 00:02:33.445 Our personal universe of sound. 00:02:33.445 --> 00:02:34.820 Putting those two things together 00:02:34.820 --> 00:02:38.750 and figuring out how to express ourselves improvisationally 00:02:38.750 --> 00:02:39.670 through using sound. 00:02:39.670 --> 00:02:42.890 Both individually and as a group. 00:02:42.890 --> 00:02:44.950 So that's our basic task ahead of us. 00:02:44.950 --> 00:02:47.680 In this particular class, we're doing that 00:02:47.680 --> 00:02:51.780 by examining different ways that people improvise. 00:02:51.780 --> 00:02:54.910 Different methods that people use to structure improvisation. 00:02:54.910 --> 00:02:59.520 Different ways that they use to conceptualize how to improvise. 00:02:59.520 --> 00:03:01.400 Because as improvisers, you come up here 00:03:01.400 --> 00:03:04.930 and when you're improvising without any music 00:03:04.930 --> 00:03:10.400 or without any prior structure, anything is possible. 00:03:10.400 --> 00:03:12.590 That's an overwhelming responsibility. 00:03:12.590 --> 00:03:15.980 You could do literally anything. 00:03:15.980 --> 00:03:19.715 How do you decide what to do? 00:03:19.715 --> 00:03:21.090 So that's the first part of being 00:03:21.090 --> 00:03:23.170 an improviser is how do you start? 00:03:23.170 --> 00:03:23.960 How do you start? 00:03:23.960 --> 00:03:27.260 And a lot of this class is about how people start. 00:03:27.260 --> 00:03:30.810 Today I think Mark was talking about graphic notation, 00:03:30.810 --> 00:03:32.310 I think in some kinds of ways. 00:03:32.310 --> 00:03:37.600 To conceptualize improvising starting with something 00:03:37.600 --> 00:03:39.130 that's visual. 00:03:39.130 --> 00:03:41.660 A way to start. 00:03:41.660 --> 00:03:46.550 And from this, then that gives you a starting off point 00:03:46.550 --> 00:03:49.170 where you can use your understanding, 00:03:49.170 --> 00:03:50.860 your intuition about improvising. 00:03:50.860 --> 00:03:53.170 Your understanding, your knowledge about sound. 00:03:53.170 --> 00:03:56.960 How it works, what it means. 00:03:56.960 --> 00:04:00.370 You can use all that stuff to say OK, that's 00:04:00.370 --> 00:04:01.120 my starting point. 00:04:01.120 --> 00:04:03.030 How do I use that stuff starting from here? 00:04:05.959 --> 00:04:07.500 So a lot of this class is about that. 00:04:07.500 --> 00:04:08.260 How do you start? 00:04:08.260 --> 00:04:09.218 Where do you come from? 00:04:14.974 --> 00:04:17.224 The other thing that's great about this kind of class, 00:04:17.224 --> 00:04:20.100 this kind of improvisation, this kind of group 00:04:20.100 --> 00:04:24.800 is that there's no particular stylistic boundaries 00:04:24.800 --> 00:04:27.020 to what we're doing. 00:04:27.020 --> 00:04:30.350 In a lot of different musical situations you go into, 00:04:30.350 --> 00:04:33.040 there's a set of boundaries just like if you go to the ballpark. 00:04:33.040 --> 00:04:36.640 There's a set of boundaries of what's going to happen. 00:04:36.640 --> 00:04:39.527 You go to a jazz concert or you play in a jazz big band. 00:04:39.527 --> 00:04:41.860 There's a set of boundaries of what you expect to happen 00:04:41.860 --> 00:04:43.400 and you can-- pretty much everything 00:04:43.400 --> 00:04:45.066 you do is going to be within that pretty 00:04:45.066 --> 00:04:47.630 well established set of boundaries. 00:04:47.630 --> 00:04:50.990 In this situation, we don't have any of those. 00:04:50.990 --> 00:04:52.890 The boundaries that we have-- there's 00:04:52.890 --> 00:04:55.570 some set up by the structure of the class, which 00:04:55.570 --> 00:04:57.960 is bringing in these different artists who specialize 00:04:57.960 --> 00:05:02.740 in different ways of conceptualizing improvisation, 00:05:02.740 --> 00:05:05.050 but outside of that-- and looking 00:05:05.050 --> 00:05:08.140 at those specific artists and ideas 00:05:08.140 --> 00:05:11.230 that Mark's looking at in the class-- outside of that there's 00:05:11.230 --> 00:05:14.192 no particular boundaries to how we improvise 00:05:14.192 --> 00:05:17.250 or what we do together when we improvise. 00:05:17.250 --> 00:05:20.490 The only boundaries are ones that we set up in the moment, 00:05:20.490 --> 00:05:23.240 and the way we set this up is through a series 00:05:23.240 --> 00:05:24.720 of structured improvisations. 00:05:24.720 --> 00:05:26.930 So most of the work we're doing here 00:05:26.930 --> 00:05:32.100 is examining improvisation or examining music 00:05:32.100 --> 00:05:34.900 through the use of structured improvisational exercises. 00:05:34.900 --> 00:05:40.820 There are ways to say what happens if you do this. 00:05:40.820 --> 00:05:45.130 Just like when you're talking today about graphic notation. 00:05:45.130 --> 00:05:48.480 What happens if you do this and you say play it? 00:05:48.480 --> 00:05:50.080 So we'll work a lot with structured-- 00:05:50.080 --> 00:05:52.210 and there are ways to look at something 00:05:52.210 --> 00:05:53.800 on a microscopic level. 00:05:53.800 --> 00:05:55.340 To go and look at something closely. 00:05:55.340 --> 00:06:00.270 A particular aspect of improvisation or of music. 00:06:00.270 --> 00:06:02.260 And then once you examine it, bring it 00:06:02.260 --> 00:06:06.690 into your conscious awareness, then all that understanding 00:06:06.690 --> 00:06:08.850 that you have is then available for you 00:06:08.850 --> 00:06:11.530 to use in a bigger context where you're improvising. 00:06:11.530 --> 00:06:15.270 Whether you're improvising on a squiggle or on a mode 00:06:15.270 --> 00:06:18.910 or on giant steps. 00:06:18.910 --> 00:06:22.170 So what we'll do is we'll take these specific exercises, 00:06:22.170 --> 00:06:25.310 hone in really closely on little-- small ideas, 00:06:25.310 --> 00:06:28.160 and then we'll use those in a freer context hopefully 00:06:28.160 --> 00:06:33.376 later on to improvise together as a group. 00:06:33.376 --> 00:06:34.500 So that's the second thing. 00:06:34.500 --> 00:06:35.791 There's no particular boundary. 00:06:35.791 --> 00:06:40.690 So you're able to use your entire personal universe 00:06:40.690 --> 00:06:45.370 of sound to improvise with. 00:06:45.370 --> 00:06:47.920 And what that means is there's no right and there's no wrong. 00:06:47.920 --> 00:06:50.190 So remember when we were talking about how-- 00:06:50.190 --> 00:06:52.820 making this a safe place to improvise. 00:06:52.820 --> 00:06:54.880 Making this a safe place to show who you are 00:06:54.880 --> 00:06:56.460 and to be who you are in the moment. 00:06:56.460 --> 00:06:59.190 One of the reasons why it's safe is because there's no judgment. 00:06:59.190 --> 00:07:01.530 Because there's no boundaries set up 00:07:01.530 --> 00:07:03.340 by a particular style of music. 00:07:03.340 --> 00:07:06.060 There's no judgment about what's a right or a wrong sound. 00:07:06.060 --> 00:07:10.870 There's no judgment about what sounds can go together. 00:07:10.870 --> 00:07:14.802 Any sound can go with any other sound. 00:07:14.802 --> 00:07:16.260 So what we're concerned with is not 00:07:16.260 --> 00:07:17.996 judging which sounds are right or wrong 00:07:17.996 --> 00:07:19.120 when you put them together. 00:07:19.120 --> 00:07:21.800 We're concerned with what does it mean? 00:07:21.800 --> 00:07:23.800 What does it feel like? 00:07:23.800 --> 00:07:26.040 Did putting those sounds together express 00:07:26.040 --> 00:07:27.480 what you wanted it to express? 00:07:27.480 --> 00:07:29.270 Did it mean what you wanted it to mean? 00:07:29.270 --> 00:07:31.750 Did it have the effect on the people that 00:07:31.750 --> 00:07:36.000 were observing you do it that you wanted it to have? 00:07:36.000 --> 00:07:38.760 So it's really all sonic experimentation 00:07:38.760 --> 00:07:40.370 that we're doing together. 00:07:40.370 --> 00:07:43.770 Using these elements of improvisation and of music 00:07:43.770 --> 00:07:47.970 and of sound that we've grown up with our entire lives 00:07:47.970 --> 00:07:51.110 to say OK, if we do this and this, what does it do? 00:07:51.110 --> 00:07:51.960 What does it mean? 00:07:51.960 --> 00:07:53.120 How does it work? 00:07:53.120 --> 00:07:55.320 Do I like it or do I not like it? 00:07:55.320 --> 00:07:56.120 Does he like it ? 00:07:56.120 --> 00:07:57.601 Does he not like it? 00:07:57.601 --> 00:07:58.100 It's awful. 00:08:03.830 --> 00:08:06.430 The other thing that Mark also mentioned in the first class-- 00:08:06.430 --> 00:08:08.290 but I think is worth reiterating-- 00:08:08.290 --> 00:08:11.780 is that this is really about having fun. 00:08:11.780 --> 00:08:14.310 Improvisation should be fun. 00:08:14.310 --> 00:08:19.180 It should be fun in every way that you can have fun. 00:08:19.180 --> 00:08:21.880 So it should be crazy fun, it should be silly fun, 00:08:21.880 --> 00:08:24.580 it should be totally, serious intense fun. 00:08:24.580 --> 00:08:27.420 The kind of fun where you're so engrossed in something 00:08:27.420 --> 00:08:29.640 that you lose all track of time. 00:08:29.640 --> 00:08:33.340 The kind of fun where you're looking at formulas 00:08:33.340 --> 00:08:34.679 and figuring out how they work. 00:08:34.679 --> 00:08:36.179 All the kinds of fun you could think 00:08:36.179 --> 00:08:38.854 of that you can have up here improvising, 00:08:38.854 --> 00:08:40.770 and that's what it should ultimately be about. 00:08:44.110 --> 00:08:47.360 I think that's about all the things. 00:08:47.360 --> 00:08:50.010 We'll do some more, but that's basically-- just 00:08:50.010 --> 00:08:52.190 to give you an idea of where we're at here. 00:08:52.190 --> 00:08:56.110 And I mentioned before that the other really important thing-- 00:08:56.110 --> 00:08:59.380 but I'll reiterate that too-- is that it's important 00:08:59.380 --> 00:09:00.940 that you tell the truth. 00:09:00.940 --> 00:09:02.620 That really what makes the difference 00:09:02.620 --> 00:09:07.680 between an improvisation that is compelling, 00:09:07.680 --> 00:09:12.380 that grips your audience, and one that people sort of fall 00:09:12.380 --> 00:09:15.840 asleep or run away from is are you telling the truth? 00:09:15.840 --> 00:09:17.460 Are you expressing yourself? 00:09:17.460 --> 00:09:20.135 Are you showing yourself? 00:09:23.791 --> 00:09:24.665 If you could do that. 00:09:24.665 --> 00:09:27.870 If you start from there, then every note, every phrase, 00:09:27.870 --> 00:09:30.580 every sound you play is going to have meaning. 00:09:33.220 --> 00:09:35.550 And over the course of this class, 00:09:35.550 --> 00:09:38.390 we'll figure out different ways to approach it. 00:09:38.390 --> 00:09:40.909 Different kinds of meaning that you can have. 00:09:40.909 --> 00:09:42.450 And you'll get a chance to experiment 00:09:42.450 --> 00:09:45.200 with different ideas of your own. 00:09:45.200 --> 00:09:49.660 To see what your personal universe of sound 00:09:49.660 --> 00:09:52.270 contributes to this group. 00:09:52.270 --> 00:09:53.650 Into what we do as improvisers. 00:09:58.110 --> 00:10:00.100 So today I was think and we'd start off-- 00:10:00.100 --> 00:10:02.500 since we're dealing with graphic notation 00:10:02.500 --> 00:10:05.030 and I think we're going into some stuff with film 00:10:05.030 --> 00:10:07.717 improvising the film later-- we're 00:10:07.717 --> 00:10:09.800 going to skip over a lot of things I would usually 00:10:09.800 --> 00:10:15.120 do in the beginning group and go into some more stuff that's 00:10:15.120 --> 00:10:20.310 related to more visual parameters and movement. 00:10:20.310 --> 00:10:22.970 Different things that you might be encountering 00:10:22.970 --> 00:10:25.430 in the course of your next few classes and your next few 00:10:25.430 --> 00:10:26.800 assignments. 00:10:26.800 --> 00:10:29.350 So what I'd like to do is start off with an exercise. 00:10:29.350 --> 00:10:32.460 We'll all come up without instruments. 00:10:32.460 --> 00:10:36.560 A lot of times I'll start off with some theater 00:10:36.560 --> 00:10:38.670 exercises or exercises that don't 00:10:38.670 --> 00:10:42.070 involve instruments as a warm up. 00:10:46.930 --> 00:10:50.750 So we are filming today, so usually I'd do a circle, 00:10:50.750 --> 00:10:52.530 but I think for the sake of the camera, 00:10:52.530 --> 00:10:54.160 we'll do sort of like a semicircle 00:10:54.160 --> 00:10:58.290 if you can just get in a big arc here so you can all 00:10:58.290 --> 00:11:00.540 see each other but still leave an opening 00:11:00.540 --> 00:11:03.100 so we're not staring in the back of anybody's head. 00:11:09.550 --> 00:11:13.460 This exercise is a very simple exercise. 00:11:13.460 --> 00:11:17.440 It's about movement and sound, and the way it works is this. 00:11:17.440 --> 00:11:23.490 One person comes out here to the center, or actually, 00:11:23.490 --> 00:11:26.800 thinking of the camera placement. 00:11:26.800 --> 00:11:28.650 The center might not work so good. 00:11:28.650 --> 00:11:32.899 Might have just a step forward from where you are, 00:11:32.899 --> 00:11:34.440 and what you're going to do is you're 00:11:34.440 --> 00:11:37.430 going to make a gesture and a sound. 00:11:37.430 --> 00:11:38.330 It can be anything. 00:11:38.330 --> 00:11:40.810 It can be any kind of gesture, any kind of sound, 00:11:40.810 --> 00:11:42.570 and you're going to repeat it. 00:11:42.570 --> 00:11:45.770 And then everybody else is going to repeat it with you. 00:11:48.485 --> 00:11:49.360 Does that make sense? 00:11:49.360 --> 00:11:50.610 And then after we do it for a while, 00:11:50.610 --> 00:11:53.140 everybody gets into the groove, it's how we got it going on, 00:11:53.140 --> 00:11:55.490 then you're going to go and take someone's place 00:11:55.490 --> 00:12:00.310 and they're going to step out and do theirs. 00:12:00.310 --> 00:12:02.810 And so on until everybody gets a chance to do it. 00:12:02.810 --> 00:12:03.490 Yeah? 00:12:03.490 --> 00:12:04.440 All right. 00:12:04.440 --> 00:12:08.230 So, I'll start. 00:12:08.230 --> 00:12:11.120 Let's see. 00:12:11.120 --> 00:12:13.910 We might need to get a little space 00:12:13.910 --> 00:12:18.820 in between each other just in case there's movement involved. 00:12:18.820 --> 00:12:19.380 All right. 00:12:27.344 --> 00:12:28.778 Boing! 00:12:28.778 --> 00:12:31.180 Boing! 00:12:31.180 --> 00:12:33.130 Boing! 00:12:33.130 --> 00:12:34.640 Boing! 00:12:34.640 --> 00:12:36.110 Boing! 00:12:36.110 --> 00:12:37.850 ALL: Boing! 00:12:37.850 --> 00:12:39.382 Boing! 00:12:39.382 --> 00:12:42.982 Boing Boing! 00:12:42.982 --> 00:12:44.398 Boing! 00:12:44.398 --> 00:12:46.036 Boing! 00:12:46.036 --> 00:12:47.970 Boing! 00:12:47.970 --> 00:12:49.470 Boing! 00:12:49.470 --> 00:12:50.970 Boing! 00:12:50.970 --> 00:12:52.462 Boing! 00:12:52.462 --> 00:12:53.950 Boing! 00:12:53.950 --> 00:12:55.934 Boing! 00:12:55.934 --> 00:12:58.406 Boing! 00:12:58.406 --> 00:13:01.864 [GROANING] 00:13:17.030 --> 00:13:20.032 [CLEARING THROAT] 00:13:35.030 --> 00:13:38.514 [POPPING SOUND] 00:13:46.112 --> 00:13:47.820 INSTRUCTOR: Just be aware that everything 00:13:47.820 --> 00:13:50.734 that the person does actually has meaning. 00:13:50.734 --> 00:13:53.150 So their facial expression-- everything that they're doing 00:13:53.150 --> 00:13:54.709 is potential. 00:13:54.709 --> 00:13:58.202 [WHISTLING] 00:14:09.106 --> 00:14:11.700 [DRUMMING SOUND] 00:14:22.720 --> 00:14:25.000 AUDIENCE: Bada! 00:14:25.000 --> 00:14:27.010 ALL: Bada! 00:14:27.010 --> 00:14:29.230 Bada! 00:14:29.230 --> 00:14:31.330 Bada! 00:14:31.330 --> 00:14:33.360 Bada! 00:14:33.360 --> 00:14:35.630 Bada! 00:14:35.630 --> 00:14:37.780 Bada! 00:14:37.780 --> 00:14:40.800 [SCREECHING SOUND] 00:14:51.740 --> 00:14:53.480 AUDIENCE: Ding-dong. 00:14:53.480 --> 00:14:55.680 ALL: Ding-dong. 00:14:55.680 --> 00:14:58.030 Ding-dong. 00:14:58.030 --> 00:15:00.190 Ding-dong. 00:15:00.190 --> 00:15:02.560 Ding-dong. 00:15:02.560 --> 00:15:03.980 Ding-dong. 00:15:03.980 --> 00:15:07.252 [SNEEZING] 00:15:17.445 --> 00:15:20.910 [DEFLATION SOUND] 00:15:33.780 --> 00:15:37.063 [DRUMMING] 00:15:50.722 --> 00:15:54.194 [MEOWING] 00:16:05.133 --> 00:16:08.612 [GRUNTING] 00:16:16.127 --> 00:16:17.210 AUDIENCE: Who hasn't gone? 00:16:17.210 --> 00:16:18.251 INSTRUCTOR: I don't know. 00:16:18.251 --> 00:16:20.500 Is anybody left? 00:16:20.500 --> 00:16:23.310 Did everybody go? 00:16:23.310 --> 00:16:23.810 Yeah? 00:16:23.810 --> 00:16:24.132 AUDIENCE: Yeah? 00:16:24.132 --> 00:16:24.780 Woo! 00:16:24.780 --> 00:16:26.250 INSTRUCTOR: Haha, good. 00:16:26.250 --> 00:16:27.310 Excellent. 00:16:27.310 --> 00:16:30.170 Now the interesting thing about this to me, and it's 00:16:30.170 --> 00:16:32.470 really fascinating and fun every time 00:16:32.470 --> 00:16:37.980 is that we do associate movement and sound. 00:16:37.980 --> 00:16:41.450 There was no accident that you chose this movement 00:16:41.450 --> 00:16:44.720 to go with that sound or that sound to go with this movement. 00:16:44.720 --> 00:16:46.850 There's connections we have in our brains 00:16:46.850 --> 00:16:50.240 about what kind of movement sound like what. 00:16:50.240 --> 00:16:53.060 And what kind of sounds would be what kind of movement. 00:16:57.080 --> 00:17:00.920 So we're going on sped up time here, 00:17:00.920 --> 00:17:03.680 so what I'd like to do is get some instruments 00:17:03.680 --> 00:17:05.770 and what I want to do is have some people 00:17:05.770 --> 00:17:09.000 move and some people play. 00:17:09.000 --> 00:17:10.927 Let's go in half. 00:17:10.927 --> 00:17:12.760 So we'll have-- so, just for now-- let's see 00:17:12.760 --> 00:17:15.433 one, two, three, four, five six. 00:17:15.433 --> 00:17:19.660 We'll have you all play and you all are going to move. 00:17:25.650 --> 00:17:27.410 I include you when I say play. 00:17:27.410 --> 00:17:29.990 It's all play. 00:17:29.990 --> 00:17:31.640 All instrumenting is playing. 00:17:31.640 --> 00:17:33.220 So here's the thing. 00:17:33.220 --> 00:17:40.580 Here's what I want to do is-- oh, yeah, let's do that. 00:17:40.580 --> 00:17:41.090 Yeah. 00:17:41.090 --> 00:17:42.423 Let's just switch with somebody. 00:17:44.844 --> 00:17:47.260 Why don't we switch you since you don't have an instrument 00:17:47.260 --> 00:17:51.840 to pick up what those guys are already picking up. 00:17:51.840 --> 00:17:52.960 So, let's do this. 00:17:52.960 --> 00:17:55.470 There's a lot of-- I've never done it quite this way before, 00:17:55.470 --> 00:17:57.650 so let's experiment some and see how this works. 00:18:02.880 --> 00:18:04.800 All you people, what I want you to do 00:18:04.800 --> 00:18:07.590 is you have all this space to move in. 00:18:07.590 --> 00:18:09.430 You can move however you want. 00:18:09.430 --> 00:18:10.350 OK? 00:18:10.350 --> 00:18:12.700 You can walk around, you can turn around, 00:18:12.700 --> 00:18:13.760 you can stand still. 00:18:13.760 --> 00:18:16.380 Whatever you want to do. 00:18:16.380 --> 00:18:17.010 Each of you. 00:18:17.010 --> 00:18:22.380 I want each of you to pick one of these people and play them. 00:18:22.380 --> 00:18:25.900 Make sounds that you think go with how they're moving. 00:18:25.900 --> 00:18:26.400 OK? 00:18:29.150 --> 00:18:31.370 No, we'll all go at once. 00:18:31.370 --> 00:18:35.540 Chaos is good in the beginning especially. 00:18:35.540 --> 00:18:38.320 Less stress. 00:18:38.320 --> 00:18:39.820 Ready? 00:18:39.820 --> 00:18:40.890 All right? 00:18:40.890 --> 00:18:42.840 Get set. 00:18:42.840 --> 00:18:45.076 Go. 00:18:45.076 --> 00:18:48.569 [VARIOUS MUSIC PLAYING] 00:19:46.535 --> 00:19:47.451 INSTRUCTOR: All right. 00:19:47.451 --> 00:19:48.840 Guys, guys! 00:19:48.840 --> 00:19:49.469 I gotcha now. 00:19:49.469 --> 00:19:50.760 You guys look like you're done. 00:19:50.760 --> 00:19:54.520 You guys look like you're done over here. 00:19:54.520 --> 00:19:59.101 Good, so do you guys-- do you know who was playing you? 00:19:59.101 --> 00:19:59.976 AUDIENCE: [INAUDIBLE] 00:20:03.894 --> 00:20:04.560 INSTRUCTOR: Yup. 00:20:04.560 --> 00:20:05.220 Anybody else? 00:20:05.220 --> 00:20:08.320 Anybody else feel did you catch that correspondence 00:20:08.320 --> 00:20:10.270 between who was playing you? 00:20:10.270 --> 00:20:10.915 No? 00:20:10.915 --> 00:20:12.703 Who were you playing? 00:20:12.703 --> 00:20:13.578 AUDIENCE: [INAUDIBLE] 00:20:16.345 --> 00:20:17.386 INSTRUCTOR: Anybody else? 00:20:17.386 --> 00:20:18.570 AUDIENCE: Me too. 00:20:18.570 --> 00:20:20.361 I think it was the tall blond-haired thing. 00:20:23.220 --> 00:20:25.750 INSTRUCTOR: He made the most dramatic movement initially, 00:20:25.750 --> 00:20:27.187 which attracts attention. 00:20:27.187 --> 00:20:28.770 Which is-- the other interesting thing 00:20:28.770 --> 00:20:32.140 is that you were moving in such a-- 00:20:32.140 --> 00:20:37.150 you were moving initially in a very rhythmic way, which 00:20:37.150 --> 00:20:41.460 allowed him to set up that rhythmic correspondence. 00:20:41.460 --> 00:20:43.020 And sort of everything in the group 00:20:43.020 --> 00:20:44.385 sort of revolved around that. 00:20:44.385 --> 00:20:46.760 You remember we were talking in the first class about how 00:20:46.760 --> 00:20:48.940 when you set up a pulse, when you set up a rhythm. 00:20:48.940 --> 00:20:50.710 It just attracts things to it. 00:20:50.710 --> 00:20:57.370 Yeah, it just does because we're-- that's how we survive. 00:20:57.370 --> 00:20:57.870 Right? 00:20:57.870 --> 00:21:01.390 Without rhythm we would all be dead. 00:21:01.390 --> 00:21:02.650 Literally. 00:21:02.650 --> 00:21:03.150 Right? 00:21:03.150 --> 00:21:04.910 It's the rhythmic beating of our heart. 00:21:04.910 --> 00:21:08.630 It's the rhythmic bleeding in and out of our bodies. 00:21:08.630 --> 00:21:10.660 It's all these rhythmic movements inside of us 00:21:10.660 --> 00:21:12.710 that enable us to keep living. 00:21:12.710 --> 00:21:16.160 Our process is a rhythmic process as humans. 00:21:16.160 --> 00:21:17.269 Sleep and wake, you know? 00:21:17.269 --> 00:21:19.310 I mean we're surrounded by our rhythmic universe. 00:21:19.310 --> 00:21:20.830 So, we're attracted to it. 00:21:20.830 --> 00:21:21.690 And we see that. 00:21:21.690 --> 00:21:26.020 We understand the sense of that. 00:21:26.020 --> 00:21:26.780 Really fast. 00:21:26.780 --> 00:21:29.559 Faster than other kinds of things. 00:21:29.559 --> 00:21:31.850 So it's just something to be aware of as an improviser. 00:21:31.850 --> 00:21:33.599 When you set up a pulse or when you set up 00:21:33.599 --> 00:21:36.030 a rhythm that repeats, it's going to attract attention 00:21:36.030 --> 00:21:37.530 and it's going to-- people are going 00:21:37.530 --> 00:21:41.040 to go to it until you repeat it for too long 00:21:41.040 --> 00:21:43.867 and then they're not going to hear it anymore. 00:21:43.867 --> 00:21:45.950 Like the air conditioner that goes on in the room. 00:21:45.950 --> 00:21:47.366 You hear it's really loud at first 00:21:47.366 --> 00:21:49.104 and then you don't hear it. 00:21:49.104 --> 00:21:50.270 So rhythm is like that, too. 00:21:50.270 --> 00:21:52.890 If you repeat the same rhythm over and over and over again, 00:21:52.890 --> 00:21:55.250 after a certain amount, people stop hearing it. 00:21:55.250 --> 00:21:57.690 So that's another challenge when we're dealing with groove 00:21:57.690 --> 00:22:00.680 and rhythm is how to keep it alive and fresh even 00:22:00.680 --> 00:22:02.490 though it's repetitious. 00:22:02.490 --> 00:22:04.271 Let's switch roles. 00:22:04.271 --> 00:22:06.020 I'm going to say a lot of different things 00:22:06.020 --> 00:22:09.020 and basically I say what comes into my head 00:22:09.020 --> 00:22:11.235 based on what happens, you know? 00:22:11.235 --> 00:22:13.360 Things that I see that I think might be interesting 00:22:13.360 --> 00:22:19.740 or might give you some kind of little insight, little idea 00:22:19.740 --> 00:22:21.799 about how improvisation works. 00:22:21.799 --> 00:22:23.590 I don't expect you to particularly remember 00:22:23.590 --> 00:22:28.600 it all or even think about it much, 00:22:28.600 --> 00:22:33.030 but I do expect that-- a lot of this process 00:22:33.030 --> 00:22:35.320 is about bringing things to your awareness 00:22:35.320 --> 00:22:38.910 because we all mostly understand and have dealt 00:22:38.910 --> 00:22:41.400 with improvisation in our lives as a completely 00:22:41.400 --> 00:22:43.386 unconscious process. 00:22:43.386 --> 00:22:45.810 It's something we use continually 00:22:45.810 --> 00:22:48.850 all the time throughout our entire lives, 00:22:48.850 --> 00:22:52.070 and probably-- unless you're a jazz player-- no one has ever 00:22:52.070 --> 00:22:58.010 even mentioned it or talk to you at all about how it works. 00:22:58.010 --> 00:23:00.640 Which is, to me, shocking. 00:23:00.640 --> 00:23:05.260 So we hope to rectify that a little bit in this 00:23:05.260 --> 00:23:08.340 because basically every innovation 00:23:08.340 --> 00:23:11.300 springs out of a moment of improvisation. 00:23:11.300 --> 00:23:15.290 So the more aware you can be, the more 00:23:15.290 --> 00:23:19.590 things about improvisation-- tools of improvisation 00:23:19.590 --> 00:23:22.300 that you are aware of and can bring into your consciousness 00:23:22.300 --> 00:23:25.250 and work with consciously, the more able 00:23:25.250 --> 00:23:27.430 you're going to be to be creative. 00:23:27.430 --> 00:23:31.750 To be innovative no matter what it is that you're doing. 00:23:31.750 --> 00:23:32.890 All right, so we split up? 00:23:32.890 --> 00:23:34.930 We got our two groups? 00:23:34.930 --> 00:23:37.450 And go! 00:23:40.432 --> 00:23:43.911 [MUSIC PLAYING] 00:24:55.080 --> 00:24:56.054 INSTRUCTOR: Good. 00:24:56.054 --> 00:24:59.135 Good, good, good. 00:24:59.135 --> 00:25:02.500 That was a nice ending place. 00:25:02.500 --> 00:25:07.252 One of the things I think we'll have to work on fairly soon-- 00:25:07.252 --> 00:25:09.460 I don't think today, but maybe next time-- is ending. 00:25:12.880 --> 00:25:16.960 We'll do a little session on beginnings and endings. 00:25:16.960 --> 00:25:20.310 But for right now I'll just stop you. 00:25:20.310 --> 00:25:24.410 Or you can stop for yourself if you feel like it's done. 00:25:24.410 --> 00:25:24.910 Right. 00:25:24.910 --> 00:25:25.993 So now, let's switch this. 00:25:25.993 --> 00:25:29.520 So now what I want to happen is I 00:25:29.520 --> 00:25:33.270 want the people that are moving to pick a person that's 00:25:33.270 --> 00:25:36.285 playing, and move how they're playing. 00:25:36.285 --> 00:25:38.160 Now you guys are just going to start playing. 00:25:38.160 --> 00:25:39.365 Improvising together. 00:25:39.365 --> 00:25:40.990 And at this point, don't worry too much 00:25:40.990 --> 00:25:43.110 about what you're doing. 00:25:43.110 --> 00:25:44.940 Just have some fun. 00:25:44.940 --> 00:25:46.820 Just like we were when you came out and did 00:25:46.820 --> 00:25:49.960 a sound and a motion. 00:25:49.960 --> 00:25:52.060 And then you all who are moving are 00:25:52.060 --> 00:25:54.790 going to pick one of the people that are making sounds 00:25:54.790 --> 00:25:58.590 and you're going to move to their sounds. 00:25:58.590 --> 00:25:59.090 What's that? 00:25:59.090 --> 00:26:00.800 AUDIENCE: Should we try and play something together? 00:26:00.800 --> 00:26:03.216 INSTRUCTOR: I don't think you should try too much anything 00:26:03.216 --> 00:26:04.396 right now. 00:26:04.396 --> 00:26:06.020 A lot of times when you're improvising, 00:26:06.020 --> 00:26:10.981 if you try too much it makes it really hard to improvise. 00:26:10.981 --> 00:26:12.480 And one of the great things actually 00:26:12.480 --> 00:26:14.740 about doing structured improvisations, 00:26:14.740 --> 00:26:19.170 which is the secret goal of a structured improvisation, 00:26:19.170 --> 00:26:23.260 is to give your mind-- your conscious mind, your monkey 00:26:23.260 --> 00:26:27.650 mind, something to latch onto-- so that you can actually 00:26:27.650 --> 00:26:28.550 improvise freely. 00:26:31.016 --> 00:26:32.890 So yeah, I don't think too much about it yet. 00:26:32.890 --> 00:26:35.264 We'll give you more things to think about as we go along. 00:26:35.264 --> 00:26:37.630 For now, I think it's just important to have 00:26:37.630 --> 00:26:39.070 some fun making sounds. 00:26:39.070 --> 00:26:41.741 I mean, the interesting thing-- if you were paying attention 00:26:41.741 --> 00:26:43.990 on these last two exercises-- the interesting thing is 00:26:43.990 --> 00:26:45.870 the music was actually very interesting. 00:26:45.870 --> 00:26:49.130 You guys actually did play together 00:26:49.130 --> 00:26:51.850 even though that wasn't our objective, 00:26:51.850 --> 00:26:54.374 and you certainly didn't have any thing to say, 00:26:54.374 --> 00:26:55.790 oh, you're going to move together, 00:26:55.790 --> 00:26:57.740 you're going to play together. 00:26:57.740 --> 00:27:00.340 The fact is that people-- you get 00:27:00.340 --> 00:27:04.650 a group of people in any situation doing something 00:27:04.650 --> 00:27:08.280 together, and they're going to-- doing stuff. 00:27:08.280 --> 00:27:10.600 They're going to start to do it together. 00:27:10.600 --> 00:27:13.330 Just how we work. 00:27:13.330 --> 00:27:15.170 As you get better as an improviser 00:27:15.170 --> 00:27:18.530 and more conscious and more aware of the possibilities 00:27:18.530 --> 00:27:21.890 that are around and what your personal preferences 00:27:21.890 --> 00:27:25.710 and possibilities are, then you'll 00:27:25.710 --> 00:27:29.920 be able to be more conscious about being together. 00:27:29.920 --> 00:27:31.526 You'll have more choices. 00:27:31.526 --> 00:27:32.900 But right now I think we can just 00:27:32.900 --> 00:27:36.170 rely on our natural instinct to make things sound good 00:27:36.170 --> 00:27:38.127 and be together. 00:27:38.127 --> 00:27:38.960 And not think about. 00:27:38.960 --> 00:27:39.620 OK, ready? 00:27:44.830 --> 00:27:46.720 OK, here, let's just do this for a second. 00:27:46.720 --> 00:27:48.178 Because this is going to be harder. 00:27:48.178 --> 00:27:51.080 Because-- well, it might not be. 00:27:51.080 --> 00:27:53.270 See, like I'm already putting expectations on you. 00:27:53.270 --> 00:27:55.000 It might-- it's just going to be totally easy, actually. 00:27:55.000 --> 00:27:56.190 Let's just-- ready? 00:27:56.190 --> 00:27:56.930 Let's go. 00:27:56.930 --> 00:27:59.142 Go!. 00:27:59.142 --> 00:28:02.180 [MUSIC PLAYING] 00:28:36.284 --> 00:28:38.160 INSTRUCTOR: We're going stop here. 00:28:38.160 --> 00:28:38.660 Stop. 00:28:38.660 --> 00:28:39.546 Let's try this again. 00:28:39.546 --> 00:28:40.670 I'm going to add one thing. 00:28:40.670 --> 00:28:44.450 One is I want you guys to feel free to come into here. 00:28:44.450 --> 00:28:46.420 So you have all this space. 00:28:46.420 --> 00:28:51.117 It's a little intimidating, but you 00:28:51.117 --> 00:28:52.450 have all this space to do stuff. 00:28:52.450 --> 00:28:54.030 So let's use this space. 00:28:54.030 --> 00:28:57.740 You guys, I want you to also be aware of the rest of the group. 00:28:57.740 --> 00:29:02.910 We'll say that now, because-- but be aware of them 00:29:02.910 --> 00:29:05.160 in the same way that you were aware of the people that 00:29:05.160 --> 00:29:07.140 were moving. 00:29:07.140 --> 00:29:09.020 You know, like when the people were moving 00:29:09.020 --> 00:29:10.556 and you guys were playing. 00:29:10.556 --> 00:29:12.430 You were aware of what everybody was playing, 00:29:12.430 --> 00:29:14.350 but you weren't that worried about it. 00:29:14.350 --> 00:29:17.920 You were just playing stuff that felt good and related to what's 00:29:17.920 --> 00:29:18.700 going on. 00:29:18.700 --> 00:29:21.696 Let's do the same thing. 00:29:21.696 --> 00:29:22.570 All right, you ready? 00:29:22.570 --> 00:29:23.653 Let's do it one more time. 00:29:23.653 --> 00:29:25.660 Same groups. 00:29:25.660 --> 00:29:27.040 So here-- everybody come out. 00:29:27.040 --> 00:29:29.500 Let's all spread out in here just so you're in a space 00:29:29.500 --> 00:29:30.130 already. 00:29:30.130 --> 00:29:31.980 You don't have to inhabit the space. 00:29:31.980 --> 00:29:34.690 You could just be in the space. 00:29:34.690 --> 00:29:37.660 And now I want you guys-- before we 00:29:37.660 --> 00:29:41.820 start-- to pick one of the people to move to. 00:29:41.820 --> 00:29:44.760 So then you'll know-- you know already 00:29:44.760 --> 00:29:46.790 when you're going to move and when you're not. 00:29:46.790 --> 00:29:50.230 You guys that are playing? 00:29:50.230 --> 00:29:53.240 Don't feel like you all have to start at once. 00:29:53.240 --> 00:29:54.880 Wait, let's add this. 00:29:54.880 --> 00:29:55.470 This is fun. 00:29:55.470 --> 00:29:58.990 Let's wait until you actually feel 00:29:58.990 --> 00:30:03.630 an impulse to make a sound, and then make a sound. 00:30:03.630 --> 00:30:05.700 OK? 00:30:05.700 --> 00:30:07.260 So that's our structure. 00:30:07.260 --> 00:30:09.897 Wait until you have an impulse to make a sound. 00:30:09.897 --> 00:30:10.730 Then make the sound. 00:30:10.730 --> 00:30:13.800 As soon as you don't have that impose anymore, stop. 00:30:13.800 --> 00:30:16.280 You guys pick ahead of time before they even 00:30:16.280 --> 00:30:18.750 start playing who you're moving to. 00:30:18.750 --> 00:30:20.500 And let's go! 00:30:20.500 --> 00:30:23.930 [MUSIC PLAYING] 00:30:39.065 --> 00:30:40.315 INSTRUCTOR: OK, wait a second! 00:30:40.315 --> 00:30:42.260 Let's stop again. 00:30:42.260 --> 00:30:45.300 I gave you a bad start for this. 00:30:45.300 --> 00:30:46.200 Hold on, let's stop. 00:30:46.200 --> 00:30:46.949 Let's start again. 00:30:46.949 --> 00:30:49.640 I gave you a bad start for this because the kind of exercise 00:30:49.640 --> 00:30:51.760 we just proposed is better if you guys have 00:30:51.760 --> 00:30:53.400 a little sounds just ahead of it. 00:30:53.400 --> 00:30:56.400 So you can actually-- you guys can 00:30:56.400 --> 00:30:59.710 make a choice about when to come in. 00:30:59.710 --> 00:31:01.630 So let's start that again. 00:31:01.630 --> 00:31:04.389 That was my fault as director here. 00:31:04.389 --> 00:31:05.430 All right, so same thing. 00:31:05.430 --> 00:31:06.765 Inhabit the space. 00:31:06.765 --> 00:31:08.375 Get in the space. 00:31:08.375 --> 00:31:09.620 Come on. 00:31:09.620 --> 00:31:10.940 Everybody in the space. 00:31:10.940 --> 00:31:12.090 All right. 00:31:12.090 --> 00:31:17.065 So you guys right now pick who you're following. 00:31:20.897 --> 00:31:21.730 Is everybody picked? 00:31:25.498 --> 00:31:27.760 All right, and you guys take a second. 00:31:27.760 --> 00:31:30.060 Just pay attention to yourself. 00:31:30.060 --> 00:31:35.730 Wait to feel like you want to play something, and then play. 00:31:35.730 --> 00:31:39.167 [MUSIC PLAYING] 00:32:59.080 --> 00:33:00.120 INSTRUCTOR: Nice. 00:33:00.120 --> 00:33:00.620 Nice. 00:33:00.620 --> 00:33:01.720 Great ending, too. 00:33:01.720 --> 00:33:02.220 Awesome. 00:33:02.220 --> 00:33:04.870 All right, switch-- let's switch roles. 00:33:04.870 --> 00:33:07.440 people People who have been moving, get your instruments. 00:33:07.440 --> 00:33:08.110 That was great. 00:33:12.585 --> 00:33:13.210 That was great. 00:33:13.210 --> 00:33:13.960 The same exercise. 00:33:33.314 --> 00:33:35.730 I'm just going to move this back a little bit just in case 00:33:35.730 --> 00:33:36.993 anybody gets enthusiastic. 00:33:39.520 --> 00:33:41.882 All right, so we got movers? 00:33:41.882 --> 00:33:42.465 AUDIENCE: Mhm. 00:33:42.465 --> 00:33:45.820 INSTRUCTOR: Inhabit your space. 00:33:45.820 --> 00:33:47.270 There you go. 00:33:47.270 --> 00:33:48.130 AUDIENCE: OK. 00:33:48.130 --> 00:33:49.600 INSTRUCTOR: All right. 00:33:49.600 --> 00:33:52.612 Now pick who you're going to follow. 00:33:52.612 --> 00:33:54.695 Pick which instrumentalist you're going to follow. 00:33:58.120 --> 00:34:02.550 Now the people that are playing instruments, take a moment. 00:34:02.550 --> 00:34:04.030 And whenever you're ready. 00:34:11.365 --> 00:34:14.788 [MUSIC PLAYING] 00:35:45.624 --> 00:35:46.540 INSTRUCTOR: Excellent. 00:35:46.540 --> 00:35:48.440 Just for balance, let's do another one. 00:35:48.440 --> 00:35:51.240 Same groups. 00:35:51.240 --> 00:35:52.740 This time when we're playing, I want 00:35:52.740 --> 00:35:58.200 you to change the mood of what you were playing. 00:36:03.417 --> 00:36:04.000 So same thing. 00:36:04.000 --> 00:36:05.476 You guys pick. 00:36:05.476 --> 00:36:08.935 Pick a different person then you picked before. 00:36:13.816 --> 00:36:15.582 You got it? 00:36:15.582 --> 00:36:16.800 All right. 00:36:16.800 --> 00:36:17.540 You guys ready? 00:36:23.468 --> 00:36:25.444 OK. 00:36:25.444 --> 00:36:28.902 [MUSIC PLAYING] 00:38:01.220 --> 00:38:02.392 [LAUGHING] 00:38:02.392 --> 00:38:03.100 INSTRUCTOR: Nice. 00:38:03.100 --> 00:38:04.690 Nice work. 00:38:04.690 --> 00:38:06.260 I must commend all of you. 00:38:06.260 --> 00:38:08.251 Those are really hard exercises to start off 00:38:08.251 --> 00:38:10.250 the class-- for the first class, because they're 00:38:10.250 --> 00:38:12.290 very-- you know, you got to do some weird stuff. 00:38:12.290 --> 00:38:14.660 So I commend you. 00:38:14.660 --> 00:38:18.482 Thank you for being so generous if you were scared on that. 00:38:18.482 --> 00:38:20.190 Let's have everybody get our instruments. 00:38:20.190 --> 00:38:21.250 We'll go onto something else because I 00:38:21.250 --> 00:38:22.810 wanted to get some graphic stuff in 00:38:22.810 --> 00:38:26.410 here too before we have to leave today. 00:38:26.410 --> 00:38:28.180 So that just gives you some ideas. 00:38:28.180 --> 00:38:32.000 Gets you into that universe of like, oh, movement and sound. 00:38:32.000 --> 00:38:33.319 They go together. 00:38:33.319 --> 00:38:35.360 And if you watch, you can watch like while you're 00:38:35.360 --> 00:38:36.070 walking around. 00:38:36.070 --> 00:38:40.766 Watch people as they walk and talk. 00:38:40.766 --> 00:38:42.120 Just look at nature. 00:38:42.120 --> 00:38:44.654 See how sounds and movements go together, 00:38:44.654 --> 00:38:46.570 and that would give you some interesting ideas 00:38:46.570 --> 00:38:53.119 and some interesting things to play with-- oh, OK. 00:38:53.119 --> 00:38:54.660 They give you some interesting things 00:38:54.660 --> 00:39:00.841 to play with when you start doing work with film. 00:39:00.841 --> 00:39:02.340 All right, here, you guys over there 00:39:02.340 --> 00:39:04.465 because I'm going to draw some things on the board. 00:39:09.050 --> 00:39:09.550 So 00:39:09.550 --> 00:39:11.383 I'm going to just do some real quick things. 00:39:11.383 --> 00:39:18.970 Just playing around with gestures and graphic elements, 00:39:18.970 --> 00:39:22.489 and what first impressions of them are. 00:39:22.489 --> 00:39:24.780 So we're just going to have some fun playing with this. 00:39:24.780 --> 00:39:25.790 So, you know, talking about those kind 00:39:25.790 --> 00:39:26.940 of graphic parameters. 00:39:26.940 --> 00:39:29.800 So this-- what does that sound like? 00:39:29.800 --> 00:39:32.265 [STRUMMING INSTRUMENTS] 00:39:37.120 --> 00:39:38.380 Right. 00:39:38.380 --> 00:39:39.880 So there's a lot of things-- there's 00:39:39.880 --> 00:39:40.963 a lot of things like that. 00:39:40.963 --> 00:39:43.415 That we just have associations with, you know? 00:39:46.680 --> 00:39:47.380 How about this? 00:39:50.664 --> 00:39:55.460 [PLAYING INSTRUMENTS] 00:39:55.460 --> 00:39:56.460 INSTRUCTOR: Interesting. 00:39:56.460 --> 00:39:58.210 So there's some interesting associations, 00:39:58.210 --> 00:40:02.290 which is that we tend to think of music visually. 00:40:02.290 --> 00:40:06.950 Particularly if you've grown up reading music. 00:40:06.950 --> 00:40:07.970 That's up. 00:40:07.970 --> 00:40:12.446 Up and down means the same thing in whatever kind of space. 00:40:12.446 --> 00:40:14.070 Whether you're working in musical space 00:40:14.070 --> 00:40:17.620 or you're working in graphic space, you know? 00:40:17.620 --> 00:40:22.995 Short and long-- We associate-- 00:40:22.995 --> 00:40:23.870 [PLAYING INSTRUMENTS] 00:40:23.870 --> 00:40:25.850 Yeah, exactly. 00:40:25.850 --> 00:40:29.500 This 00:40:29.500 --> 00:40:32.224 [PLAYING INSTRUMENTS] 00:40:32.224 --> 00:40:33.390 All right, and if I do this? 00:40:37.000 --> 00:40:39.774 [PLAYING INSTRUMENTS] 00:40:43.830 --> 00:40:45.340 So short and long. 00:40:45.340 --> 00:40:47.900 It's a parameter that has a certain meaning. 00:40:47.900 --> 00:40:54.130 Whether you're moving or whether you're drawing 00:40:54.130 --> 00:40:57.670 or whether you're playing sounds. 00:40:57.670 --> 00:40:59.600 Up and down. 00:40:59.600 --> 00:41:02.290 High and low. 00:41:02.290 --> 00:41:03.601 What would that be? 00:41:03.601 --> 00:41:04.912 [INSTRUMENT STRUM] 00:41:04.912 --> 00:41:07.026 What would this be? 00:41:07.026 --> 00:41:09.918 [INSTRUMENTS PLAYING] 00:41:09.918 --> 00:41:11.750 Right, right. 00:41:11.750 --> 00:41:13.500 So all these kinds of things have meaning. 00:41:13.500 --> 00:41:17.752 And then there's things that have-- so there's 00:41:17.752 --> 00:41:19.460 all these different parameters like that. 00:41:19.460 --> 00:41:21.590 That we just have associations with because 00:41:21.590 --> 00:41:26.240 of our spatial awareness. 00:41:26.240 --> 00:41:28.310 There's other ones that, if you're a musician, 00:41:28.310 --> 00:41:32.540 you might have a sense of. 00:41:32.540 --> 00:41:35.170 I mean there's no accident that that means what it does. 00:41:35.170 --> 00:41:39.212 [STRUMMING INSTRUMENT] 00:41:39.212 --> 00:41:40.170 What's that sound like? 00:41:40.170 --> 00:41:43.495 [PLAYING INSTRUMENTS] 00:41:46.090 --> 00:41:46.590 Good. 00:41:46.590 --> 00:41:47.349 So let's do this. 00:41:47.349 --> 00:41:49.390 I'm going to put up things-- I think this is fun. 00:41:49.390 --> 00:41:51.800 So what I want to do is-- like you've been doing-- play them, 00:41:51.800 --> 00:41:53.925 but what I want you to do is play them all together 00:41:53.925 --> 00:41:54.880 as a group. 00:41:54.880 --> 00:41:56.660 So I'll put it up and then you guys, 00:41:56.660 --> 00:41:58.670 I'll give you a little space and then 00:41:58.670 --> 00:42:00.294 you guys play it together and stop. 00:42:00.294 --> 00:42:01.460 And I'll put another one up. 00:42:01.460 --> 00:42:02.918 We'll talk about them a little bit. 00:42:02.918 --> 00:42:05.790 Yeah, so crescendo, decrescendo. 00:42:05.790 --> 00:42:08.940 We learned that in music it means what it means, 00:42:08.940 --> 00:42:12.910 but also graphically it quite obviously means what it means. 00:42:12.910 --> 00:42:16.220 And I think in math there's like a greater or lesser thing going 00:42:16.220 --> 00:42:17.190 on here, too, right? 00:42:17.190 --> 00:42:20.120 Is that the same meaning or a different one? 00:42:20.120 --> 00:42:22.240 No? 00:42:22.240 --> 00:42:22.942 No? 00:42:22.942 --> 00:42:23.900 AUDIENCE: Close enough. 00:42:23.900 --> 00:42:25.070 INSTRUCTOR: Close enough? 00:42:25.070 --> 00:42:26.195 What does that symbol mean? 00:42:26.195 --> 00:42:27.569 AUDIENCE: Everything on the right 00:42:27.569 --> 00:42:29.390 is bigger than everything on the left. 00:42:29.390 --> 00:42:30.350 INSTRUCTOR: Oh, OK. 00:42:30.350 --> 00:42:31.225 AUDIENCE: [INAUDIBLE] 00:42:34.850 --> 00:42:36.110 INSTRUCTOR: OK. 00:42:36.110 --> 00:42:37.988 Yup. 00:42:37.988 --> 00:42:40.237 Yeah, so the volume would be greater on the right than 00:42:40.237 --> 00:42:40.910 on the left. 00:42:40.910 --> 00:42:41.870 Yeah, so same thing. 00:42:41.870 --> 00:42:45.510 Volume is greater here in music than it is here. 00:42:45.510 --> 00:42:46.715 Yeah, cool. 00:42:46.715 --> 00:42:47.447 All right. 00:42:47.447 --> 00:42:50.030 So here we'll just have some fun and play some different ones. 00:42:54.557 --> 00:42:56.140 I'll just conduct you to begin and you 00:42:56.140 --> 00:42:59.480 can end whenever you feel like it ends. 00:42:59.480 --> 00:43:02.875 [MUSIC PLAYING] 00:43:10.120 --> 00:43:11.710 That's fun How about this? 00:43:11.710 --> 00:43:12.210 Let's see. 00:43:19.160 --> 00:43:22.520 [MUSIC PLAYING] 00:43:27.800 --> 00:43:28.950 That's fun. 00:43:28.950 --> 00:43:31.840 I've never done this before. 00:43:31.840 --> 00:43:33.070 Let's see, let's see. 00:43:33.070 --> 00:43:35.212 How about this. 00:43:35.212 --> 00:43:36.545 What would you do if I did this? 00:43:41.354 --> 00:43:44.410 [MUSIC PLAYING] 00:44:04.850 --> 00:44:05.350 Cool. 00:44:05.350 --> 00:44:06.766 I figured I had to do that or else 00:44:06.766 --> 00:44:08.747 you'd just keep going and going. 00:44:08.747 --> 00:44:09.580 It would never stop. 00:44:12.460 --> 00:44:14.569 All right, let's see. 00:44:14.569 --> 00:44:15.985 All right, we're going to do this. 00:44:28.890 --> 00:44:29.390 Ready? 00:44:32.890 --> 00:44:36.390 [MUSIC PLAYING] 00:44:46.890 --> 00:44:47.890 INSTRUCTOR: Good. 00:44:47.890 --> 00:44:48.480 All right, so we're going to-- I'm 00:44:48.480 --> 00:44:50.610 going to add-- I think that we could play with this 00:44:50.610 --> 00:44:54.790 for a little bit and add a couple other elements in here. 00:44:54.790 --> 00:45:00.030 So let's play this as if you're each 00:45:00.030 --> 00:45:05.730 playing this sequence individually at whatever pace 00:45:05.730 --> 00:45:08.120 and whatever timing you want. 00:45:08.120 --> 00:45:10.200 OK? 00:45:10.200 --> 00:45:12.350 And it ends-- the piece begins whenever 00:45:12.350 --> 00:45:13.520 the first person starts. 00:45:13.520 --> 00:45:16.482 The piece ends whenever the last person ends. 00:45:16.482 --> 00:45:16.982 You ready? 00:45:20.950 --> 00:45:24.422 [MUSIC PLAYING] 00:45:48.026 --> 00:45:50.550 Great. 00:45:50.550 --> 00:45:51.070 Awesome. 00:45:51.070 --> 00:45:51.230 Good. 00:45:51.230 --> 00:45:53.010 Let's play the same thing, except now I 00:45:53.010 --> 00:45:55.045 want you to all move as one. 00:45:57.360 --> 00:45:57.860 Ready? 00:46:01.450 --> 00:46:04.950 [MUSIC PLAYING] 00:46:20.450 --> 00:46:20.985 Good. 00:46:20.985 --> 00:46:24.260 Now the interesting thing there, and this is pretty much true 00:46:24.260 --> 00:46:26.310 whenever movement is involved is that if you're 00:46:26.310 --> 00:46:28.480 trying to fall somebody, or you're 00:46:28.480 --> 00:46:30.940 trying to move as a group, the first person 00:46:30.940 --> 00:46:32.794 that moves controls the movement. 00:46:32.794 --> 00:46:34.210 Because this is-- if you're saying 00:46:34.210 --> 00:46:36.600 we're all moving together, then as soon as one person moves, 00:46:36.600 --> 00:46:37.724 everybody else has to move. 00:46:40.307 --> 00:46:41.140 Here, let's do this. 00:46:41.140 --> 00:46:42.223 We'll add another part in. 00:46:50.840 --> 00:46:51.920 Let's play that first. 00:46:51.920 --> 00:46:54.032 What does that sound like? 00:46:54.032 --> 00:46:57.469 [SQUIGGLY INSTRUMENT STRUMMING] 00:47:06.820 --> 00:47:09.780 That's so weird that we all have similar reactions 00:47:09.780 --> 00:47:11.860 to these things. 00:47:11.860 --> 00:47:16.210 OK, so-- I guess not weird, really. 00:47:16.210 --> 00:47:17.990 But it's interesting to me. 00:47:17.990 --> 00:47:20.350 OK, so let's-- you can choose. 00:47:20.350 --> 00:47:23.020 You can choose either to play this part of this part. 00:47:23.020 --> 00:47:24.877 So it'll be a two-part thing. 00:47:24.877 --> 00:47:26.460 The people that are playing each part, 00:47:26.460 --> 00:47:29.437 I want you to play your part together. 00:47:29.437 --> 00:47:30.520 So there's two challenges. 00:47:30.520 --> 00:47:32.186 One you have to identify the people that 00:47:32.186 --> 00:47:36.960 are playing your part and stay with them. 00:47:36.960 --> 00:47:38.200 OK. 00:47:38.200 --> 00:47:38.700 Ready? 00:47:42.186 --> 00:47:46.170 [MUSIC PLAYING] 00:48:07.850 --> 00:48:08.870 Cool. 00:48:08.870 --> 00:48:11.840 So did you feel like you knew who was playing what? 00:48:11.840 --> 00:48:13.281 Yeah. 00:48:13.281 --> 00:48:13.780 Yeah. 00:48:16.710 --> 00:48:17.590 Who was playing what? 00:48:21.127 --> 00:48:22.002 AUDIENCE: [INAUDIBLE] 00:48:26.780 --> 00:48:27.892 INSTRUCTOR: Anybody else? 00:48:27.892 --> 00:48:29.850 AUDIENCE: I feel like it was kind of estranged. 00:48:29.850 --> 00:48:33.000 I feel like if you want to have everyone be on the same page, 00:48:33.000 --> 00:48:36.330 then like-- this is at least going through my head. 00:48:36.330 --> 00:48:38.070 How are we going to time this? 00:48:38.070 --> 00:48:40.880 And then is there a standard way to read from left to right? 00:48:40.880 --> 00:48:42.585 Approximately from the time we finished 00:48:42.585 --> 00:48:44.710 playing those first two lines, whatever that means, 00:48:44.710 --> 00:48:47.260 we kind of start the squiggly thing, whatever that means. 00:48:47.260 --> 00:48:49.362 Just because I assumed that everyone else assumed 00:48:49.362 --> 00:48:50.570 that assumed that, et cetera. 00:48:50.570 --> 00:48:51.776 INSTRUCTOR: Right. 00:48:51.776 --> 00:48:53.030 Yeah. 00:48:53.030 --> 00:48:57.430 Well let's say-- let's make that more explicit. 00:48:57.430 --> 00:48:58.650 Because you're right. 00:48:58.650 --> 00:49:00.800 People-- we are used to as a culture moving from 00:49:00.800 --> 00:49:04.910 left to right, but in all kinds of reading. 00:49:04.910 --> 00:49:08.770 And in music temporally you move from left to right. 00:49:08.770 --> 00:49:10.380 It indicates time. 00:49:13.870 --> 00:49:17.790 In art, I'm not sure if that's necessarily true since it's 00:49:17.790 --> 00:49:20.590 more-- but definitely in music you 00:49:20.590 --> 00:49:24.230 tend to think that this is the beginning, that's the end, 00:49:24.230 --> 00:49:26.370 and we sort of been playing that way all along. 00:49:26.370 --> 00:49:29.090 So let's say specifically this is the beginning. 00:49:29.090 --> 00:49:31.490 Actually, let's do repeats. 00:49:31.490 --> 00:49:32.390 We'll do it twice. 00:49:36.617 --> 00:49:38.450 All right, so we are going to play it twice. 00:49:38.450 --> 00:49:39.325 That's the beginning. 00:49:39.325 --> 00:49:41.640 That's the end. 00:49:41.640 --> 00:49:45.740 So if you choose to do the squigglies-- technical term, 00:49:45.740 --> 00:49:47.030 the squigglies. 00:49:47.030 --> 00:49:48.660 Remember that. 00:49:48.660 --> 00:49:51.290 If you choose to do that, then you're starting like a little 00:49:51.290 --> 00:49:52.455 after the third note. 00:49:52.455 --> 00:49:53.330 AUDIENCE: [INAUDIBLE] 00:49:57.610 --> 00:49:59.370 INSTRUCTOR: No. 00:49:59.370 --> 00:49:59.870 No. 00:49:59.870 --> 00:50:02.410 It might be more fun if you didn't. 00:50:02.410 --> 00:50:03.090 OK, you ready? 00:50:03.090 --> 00:50:04.423 You can start whenever you want. 00:50:04.423 --> 00:50:08.330 I'm going to stop starting you. 00:50:08.330 --> 00:50:11.816 [MUSIC PLAYING] 00:51:12.060 --> 00:51:14.000 INSTRUCTOR: Awesome. 00:51:14.000 --> 00:51:15.120 That was great. 00:51:15.120 --> 00:51:17.800 All right, let's add a third part. 00:51:17.800 --> 00:51:19.751 Anybody? 00:51:19.751 --> 00:51:21.140 Any volunteers? 00:51:21.140 --> 00:51:22.210 Want to add a third part? 00:51:30.404 --> 00:51:34.929 [LAUGHTER] 00:51:34.929 --> 00:51:35.595 INSTRUCTOR: Ooh. 00:51:41.760 --> 00:51:42.430 OK, you ready? 00:51:45.050 --> 00:51:47.030 Let's take the repeats off this time, though. 00:51:47.030 --> 00:51:49.400 Because I want to do a couple more and we're 00:51:49.400 --> 00:51:50.245 running out of time. 00:51:53.340 --> 00:51:53.970 OK, you ready? 00:51:58.000 --> 00:51:59.718 Whenever. 00:51:59.718 --> 00:52:03.204 [MUSIC PLAYING] 00:52:33.610 --> 00:52:34.717 INSTRUCTOR: That was cool. 00:52:34.717 --> 00:52:36.050 All right, let's do another one. 00:52:36.050 --> 00:52:37.260 We got time to do one more. 00:52:41.380 --> 00:52:43.120 This is when I feel really teachery where 00:52:43.120 --> 00:52:44.120 I have to do blackboard. 00:52:52.720 --> 00:52:53.260 All right. 00:52:57.220 --> 00:52:58.895 First part-- let's do three parts. 00:53:04.950 --> 00:53:06.720 So key here is make them specific. 00:53:06.720 --> 00:53:08.120 Make them simple at this point. 00:53:08.120 --> 00:53:10.174 Makes it easier. 00:53:10.174 --> 00:53:14.000 Haha, did I blow your thing [? there? ?] 00:53:14.000 --> 00:53:14.500 No, no. 00:53:14.500 --> 00:53:14.999 Go ahead. 00:53:14.999 --> 00:53:15.712 Go ahead. 00:53:15.712 --> 00:53:16.670 Do what you want to do. 00:53:16.670 --> 00:53:18.532 We'll see. 00:53:18.532 --> 00:53:19.490 Oh yeah, that's simple. 00:53:26.370 --> 00:53:28.526 Or not. 00:53:28.526 --> 00:53:29.026 Oh. 00:53:34.224 --> 00:53:35.390 It's like that ribbon candy. 00:53:39.030 --> 00:53:40.074 Cool. 00:53:40.074 --> 00:53:41.490 All right, what's the second part? 00:54:15.921 --> 00:54:17.418 INSTRUCTOR: Haha. 00:54:17.418 --> 00:54:17.970 Good. 00:54:17.970 --> 00:54:21.250 Let's do this one-- let's split into-- let's do it 00:54:21.250 --> 00:54:23.080 in two different groups. 00:54:23.080 --> 00:54:27.849 Just to make it-- because there's a lot of sound there. 00:54:27.849 --> 00:54:29.140 So we'll just split it in half. 00:54:29.140 --> 00:54:31.210 One, two, three, four, five. 00:54:31.210 --> 00:54:32.930 You guys can split up if you want to. 00:54:32.930 --> 00:54:36.240 Would you rather do that or play together? 00:54:36.240 --> 00:54:37.680 All right. 00:54:37.680 --> 00:54:41.028 Yeah, so you'll be one, one, one, one, one. 00:54:41.028 --> 00:54:42.417 AUDIENCE: Can I have one? 00:54:42.417 --> 00:54:43.921 INSTRUCTOR: Yeah, sure. 00:54:43.921 --> 00:54:44.754 AUDIENCE: All right. 00:54:44.754 --> 00:54:45.690 INSTRUCTOR: Yeah. 00:54:45.690 --> 00:54:50.409 All right, so you guys go first and then-- 00:54:50.409 --> 00:54:51.700 let's see what they sound like. 00:54:58.230 --> 00:55:01.490 [MUSIC PLAYING] 00:55:35.347 --> 00:55:36.055 INSTRUCTOR: Good. 00:55:39.150 --> 00:55:41.030 Now second group, same piece. 00:55:44.166 --> 00:55:46.904 [MUSIC PLAYING] 00:56:18.520 --> 00:56:19.510 INSTRUCTOR: Cool. 00:56:19.510 --> 00:56:21.415 I think that's a good place to stop. 00:56:21.415 --> 00:56:22.290 All right, thank you. 00:56:22.290 --> 00:56:24.280 So for this week as you're just-- 00:56:24.280 --> 00:56:26.622 as you're walking around, pay attention. 00:56:26.622 --> 00:56:28.205 Pay attention to the sound of movement 00:56:28.205 --> 00:56:33.480 and how they go together in your mind and outside of your mind.