1 00:00:00,050 --> 00:00:01,670 The following content is provided 2 00:00:01,670 --> 00:00:03,810 under a Creative Commons license. 3 00:00:03,810 --> 00:00:06,540 Your support will help MIT OpenCourseWare continue 4 00:00:06,540 --> 00:00:10,120 to offer high quality educational resources for free. 5 00:00:10,120 --> 00:00:12,700 To make a donation or to view additional materials 6 00:00:12,700 --> 00:00:16,609 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:16,609 --> 00:00:17,575 at ocw.mit.edu. 8 00:00:21,240 --> 00:00:23,840 INSTRUCTOR: So welcome to the lab. 9 00:00:23,840 --> 00:00:25,950 I'm going to start off today-- mostly everything 10 00:00:25,950 --> 00:00:27,056 we'll do is be hands on. 11 00:00:27,056 --> 00:00:28,430 I'm going to start out today just 12 00:00:28,430 --> 00:00:32,750 to reiterate some of the things that we talked about 13 00:00:32,750 --> 00:00:37,370 last Monday, and to expand on a few of those ideas 14 00:00:37,370 --> 00:00:40,430 about what we're doing here. 15 00:00:40,430 --> 00:00:42,510 And the idea of this little introductory lecture 16 00:00:42,510 --> 00:00:46,420 is just to say, what's our purpose? 17 00:00:46,420 --> 00:00:48,790 What's the expectations? 18 00:00:48,790 --> 00:00:51,580 What are we doing here? 19 00:00:51,580 --> 00:00:54,340 Pretty much every place you go there's a set of expectations 20 00:00:54,340 --> 00:00:57,380 of what you're expected to do and what 21 00:00:57,380 --> 00:01:00,349 you're expected to be done to you. 22 00:01:00,349 --> 00:01:02,390 And it's very different depending on what you do. 23 00:01:02,390 --> 00:01:03,810 If you go to a baseball game, it's 24 00:01:03,810 --> 00:01:06,120 a totally different set of expectations 25 00:01:06,120 --> 00:01:10,020 of both what you're allowed and prepared to do 26 00:01:10,020 --> 00:01:14,690 and what you're expecting to see then if you went to a concert 27 00:01:14,690 --> 00:01:17,447 or if you went to a physics class. 28 00:01:17,447 --> 00:01:18,280 All different stuff. 29 00:01:18,280 --> 00:01:20,430 All different sets of expectations. 30 00:01:20,430 --> 00:01:24,580 All different ideas about what we're doing here. 31 00:01:24,580 --> 00:01:27,320 So this little thing is to give you 32 00:01:27,320 --> 00:01:28,719 an idea of what this is about. 33 00:01:28,719 --> 00:01:29,635 What we're doing here. 34 00:01:32,180 --> 00:01:34,609 The first thing-- which to me is the most important thing 35 00:01:34,609 --> 00:01:36,900 we already touched on in the last class-- which is just 36 00:01:36,900 --> 00:01:39,076 the idea that we're all improvisers. 37 00:01:39,076 --> 00:01:41,960 That simply by virtue of being a human, 38 00:01:41,960 --> 00:01:45,410 you're already a master improviser. 39 00:01:45,410 --> 00:01:49,680 Where I go from there is that humans are also oral creatures. 40 00:01:49,680 --> 00:01:54,240 We understand the world through sound a lot. 41 00:01:54,240 --> 00:01:57,170 Not only through talking, not only 42 00:01:57,170 --> 00:02:00,070 through our experience of the sounds of other humans, 43 00:02:00,070 --> 00:02:02,760 but also the sounds in the world inform us 44 00:02:02,760 --> 00:02:06,820 all the time in all different kinds of ways. 45 00:02:06,820 --> 00:02:09,960 And also each of us grows up surrounded by music and sound. 46 00:02:09,960 --> 00:02:15,400 We all have a personal universe of sound that is ours. 47 00:02:15,400 --> 00:02:19,080 In this class and in this lab, what we'll be doing 48 00:02:19,080 --> 00:02:24,260 a lot is dealing with how to marry our awareness that we 49 00:02:24,260 --> 00:02:28,500 have from growing up as improvising people 50 00:02:28,500 --> 00:02:32,010 to our awareness of our understanding of sound. 51 00:02:32,010 --> 00:02:33,445 Our personal universe of sound. 52 00:02:33,445 --> 00:02:34,820 Putting those two things together 53 00:02:34,820 --> 00:02:38,750 and figuring out how to express ourselves improvisationally 54 00:02:38,750 --> 00:02:39,670 through using sound. 55 00:02:39,670 --> 00:02:42,890 Both individually and as a group. 56 00:02:42,890 --> 00:02:44,950 So that's our basic task ahead of us. 57 00:02:44,950 --> 00:02:47,680 In this particular class, we're doing that 58 00:02:47,680 --> 00:02:51,780 by examining different ways that people improvise. 59 00:02:51,780 --> 00:02:54,910 Different methods that people use to structure improvisation. 60 00:02:54,910 --> 00:02:59,520 Different ways that they use to conceptualize how to improvise. 61 00:02:59,520 --> 00:03:01,400 Because as improvisers, you come up here 62 00:03:01,400 --> 00:03:04,930 and when you're improvising without any music 63 00:03:04,930 --> 00:03:10,400 or without any prior structure, anything is possible. 64 00:03:10,400 --> 00:03:12,590 That's an overwhelming responsibility. 65 00:03:12,590 --> 00:03:15,980 You could do literally anything. 66 00:03:15,980 --> 00:03:19,715 How do you decide what to do? 67 00:03:19,715 --> 00:03:21,090 So that's the first part of being 68 00:03:21,090 --> 00:03:23,170 an improviser is how do you start? 69 00:03:23,170 --> 00:03:23,960 How do you start? 70 00:03:23,960 --> 00:03:27,260 And a lot of this class is about how people start. 71 00:03:27,260 --> 00:03:30,810 Today I think Mark was talking about graphic notation, 72 00:03:30,810 --> 00:03:32,310 I think in some kinds of ways. 73 00:03:32,310 --> 00:03:37,600 To conceptualize improvising starting with something 74 00:03:37,600 --> 00:03:39,130 that's visual. 75 00:03:39,130 --> 00:03:41,660 A way to start. 76 00:03:41,660 --> 00:03:46,550 And from this, then that gives you a starting off point 77 00:03:46,550 --> 00:03:49,170 where you can use your understanding, 78 00:03:49,170 --> 00:03:50,860 your intuition about improvising. 79 00:03:50,860 --> 00:03:53,170 Your understanding, your knowledge about sound. 80 00:03:53,170 --> 00:03:56,960 How it works, what it means. 81 00:03:56,960 --> 00:04:00,370 You can use all that stuff to say OK, that's 82 00:04:00,370 --> 00:04:01,120 my starting point. 83 00:04:01,120 --> 00:04:03,030 How do I use that stuff starting from here? 84 00:04:05,959 --> 00:04:07,500 So a lot of this class is about that. 85 00:04:07,500 --> 00:04:08,260 How do you start? 86 00:04:08,260 --> 00:04:09,218 Where do you come from? 87 00:04:14,974 --> 00:04:17,224 The other thing that's great about this kind of class, 88 00:04:17,224 --> 00:04:20,100 this kind of improvisation, this kind of group 89 00:04:20,100 --> 00:04:24,800 is that there's no particular stylistic boundaries 90 00:04:24,800 --> 00:04:27,020 to what we're doing. 91 00:04:27,020 --> 00:04:30,350 In a lot of different musical situations you go into, 92 00:04:30,350 --> 00:04:33,040 there's a set of boundaries just like if you go to the ballpark. 93 00:04:33,040 --> 00:04:36,640 There's a set of boundaries of what's going to happen. 94 00:04:36,640 --> 00:04:39,527 You go to a jazz concert or you play in a jazz big band. 95 00:04:39,527 --> 00:04:41,860 There's a set of boundaries of what you expect to happen 96 00:04:41,860 --> 00:04:43,400 and you can-- pretty much everything 97 00:04:43,400 --> 00:04:45,066 you do is going to be within that pretty 98 00:04:45,066 --> 00:04:47,630 well established set of boundaries. 99 00:04:47,630 --> 00:04:50,990 In this situation, we don't have any of those. 100 00:04:50,990 --> 00:04:52,890 The boundaries that we have-- there's 101 00:04:52,890 --> 00:04:55,570 some set up by the structure of the class, which 102 00:04:55,570 --> 00:04:57,960 is bringing in these different artists who specialize 103 00:04:57,960 --> 00:05:02,740 in different ways of conceptualizing improvisation, 104 00:05:02,740 --> 00:05:05,050 but outside of that-- and looking 105 00:05:05,050 --> 00:05:08,140 at those specific artists and ideas 106 00:05:08,140 --> 00:05:11,230 that Mark's looking at in the class-- outside of that there's 107 00:05:11,230 --> 00:05:14,192 no particular boundaries to how we improvise 108 00:05:14,192 --> 00:05:17,250 or what we do together when we improvise. 109 00:05:17,250 --> 00:05:20,490 The only boundaries are ones that we set up in the moment, 110 00:05:20,490 --> 00:05:23,240 and the way we set this up is through a series 111 00:05:23,240 --> 00:05:24,720 of structured improvisations. 112 00:05:24,720 --> 00:05:26,930 So most of the work we're doing here 113 00:05:26,930 --> 00:05:32,100 is examining improvisation or examining music 114 00:05:32,100 --> 00:05:34,900 through the use of structured improvisational exercises. 115 00:05:34,900 --> 00:05:40,820 There are ways to say what happens if you do this. 116 00:05:40,820 --> 00:05:45,130 Just like when you're talking today about graphic notation. 117 00:05:45,130 --> 00:05:48,480 What happens if you do this and you say play it? 118 00:05:48,480 --> 00:05:50,080 So we'll work a lot with structured-- 119 00:05:50,080 --> 00:05:52,210 and there are ways to look at something 120 00:05:52,210 --> 00:05:53,800 on a microscopic level. 121 00:05:53,800 --> 00:05:55,340 To go and look at something closely. 122 00:05:55,340 --> 00:06:00,270 A particular aspect of improvisation or of music. 123 00:06:00,270 --> 00:06:02,260 And then once you examine it, bring it 124 00:06:02,260 --> 00:06:06,690 into your conscious awareness, then all that understanding 125 00:06:06,690 --> 00:06:08,850 that you have is then available for you 126 00:06:08,850 --> 00:06:11,530 to use in a bigger context where you're improvising. 127 00:06:11,530 --> 00:06:15,270 Whether you're improvising on a squiggle or on a mode 128 00:06:15,270 --> 00:06:18,910 or on giant steps. 129 00:06:18,910 --> 00:06:22,170 So what we'll do is we'll take these specific exercises, 130 00:06:22,170 --> 00:06:25,310 hone in really closely on little-- small ideas, 131 00:06:25,310 --> 00:06:28,160 and then we'll use those in a freer context hopefully 132 00:06:28,160 --> 00:06:33,376 later on to improvise together as a group. 133 00:06:33,376 --> 00:06:34,500 So that's the second thing. 134 00:06:34,500 --> 00:06:35,791 There's no particular boundary. 135 00:06:35,791 --> 00:06:40,690 So you're able to use your entire personal universe 136 00:06:40,690 --> 00:06:45,370 of sound to improvise with. 137 00:06:45,370 --> 00:06:47,920 And what that means is there's no right and there's no wrong. 138 00:06:47,920 --> 00:06:50,190 So remember when we were talking about how-- 139 00:06:50,190 --> 00:06:52,820 making this a safe place to improvise. 140 00:06:52,820 --> 00:06:54,880 Making this a safe place to show who you are 141 00:06:54,880 --> 00:06:56,460 and to be who you are in the moment. 142 00:06:56,460 --> 00:06:59,190 One of the reasons why it's safe is because there's no judgment. 143 00:06:59,190 --> 00:07:01,530 Because there's no boundaries set up 144 00:07:01,530 --> 00:07:03,340 by a particular style of music. 145 00:07:03,340 --> 00:07:06,060 There's no judgment about what's a right or a wrong sound. 146 00:07:06,060 --> 00:07:10,870 There's no judgment about what sounds can go together. 147 00:07:10,870 --> 00:07:14,802 Any sound can go with any other sound. 148 00:07:14,802 --> 00:07:16,260 So what we're concerned with is not 149 00:07:16,260 --> 00:07:17,996 judging which sounds are right or wrong 150 00:07:17,996 --> 00:07:19,120 when you put them together. 151 00:07:19,120 --> 00:07:21,800 We're concerned with what does it mean? 152 00:07:21,800 --> 00:07:23,800 What does it feel like? 153 00:07:23,800 --> 00:07:26,040 Did putting those sounds together express 154 00:07:26,040 --> 00:07:27,480 what you wanted it to express? 155 00:07:27,480 --> 00:07:29,270 Did it mean what you wanted it to mean? 156 00:07:29,270 --> 00:07:31,750 Did it have the effect on the people that 157 00:07:31,750 --> 00:07:36,000 were observing you do it that you wanted it to have? 158 00:07:36,000 --> 00:07:38,760 So it's really all sonic experimentation 159 00:07:38,760 --> 00:07:40,370 that we're doing together. 160 00:07:40,370 --> 00:07:43,770 Using these elements of improvisation and of music 161 00:07:43,770 --> 00:07:47,970 and of sound that we've grown up with our entire lives 162 00:07:47,970 --> 00:07:51,110 to say OK, if we do this and this, what does it do? 163 00:07:51,110 --> 00:07:51,960 What does it mean? 164 00:07:51,960 --> 00:07:53,120 How does it work? 165 00:07:53,120 --> 00:07:55,320 Do I like it or do I not like it? 166 00:07:55,320 --> 00:07:56,120 Does he like it ? 167 00:07:56,120 --> 00:07:57,601 Does he not like it? 168 00:07:57,601 --> 00:07:58,100 It's awful. 169 00:08:03,830 --> 00:08:06,430 The other thing that Mark also mentioned in the first class-- 170 00:08:06,430 --> 00:08:08,290 but I think is worth reiterating-- 171 00:08:08,290 --> 00:08:11,780 is that this is really about having fun. 172 00:08:11,780 --> 00:08:14,310 Improvisation should be fun. 173 00:08:14,310 --> 00:08:19,180 It should be fun in every way that you can have fun. 174 00:08:19,180 --> 00:08:21,880 So it should be crazy fun, it should be silly fun, 175 00:08:21,880 --> 00:08:24,580 it should be totally, serious intense fun. 176 00:08:24,580 --> 00:08:27,420 The kind of fun where you're so engrossed in something 177 00:08:27,420 --> 00:08:29,640 that you lose all track of time. 178 00:08:29,640 --> 00:08:33,340 The kind of fun where you're looking at formulas 179 00:08:33,340 --> 00:08:34,679 and figuring out how they work. 180 00:08:34,679 --> 00:08:36,179 All the kinds of fun you could think 181 00:08:36,179 --> 00:08:38,854 of that you can have up here improvising, 182 00:08:38,854 --> 00:08:40,770 and that's what it should ultimately be about. 183 00:08:44,110 --> 00:08:47,360 I think that's about all the things. 184 00:08:47,360 --> 00:08:50,010 We'll do some more, but that's basically-- just 185 00:08:50,010 --> 00:08:52,190 to give you an idea of where we're at here. 186 00:08:52,190 --> 00:08:56,110 And I mentioned before that the other really important thing-- 187 00:08:56,110 --> 00:08:59,380 but I'll reiterate that too-- is that it's important 188 00:08:59,380 --> 00:09:00,940 that you tell the truth. 189 00:09:00,940 --> 00:09:02,620 That really what makes the difference 190 00:09:02,620 --> 00:09:07,680 between an improvisation that is compelling, 191 00:09:07,680 --> 00:09:12,380 that grips your audience, and one that people sort of fall 192 00:09:12,380 --> 00:09:15,840 asleep or run away from is are you telling the truth? 193 00:09:15,840 --> 00:09:17,460 Are you expressing yourself? 194 00:09:17,460 --> 00:09:20,135 Are you showing yourself? 195 00:09:23,791 --> 00:09:24,665 If you could do that. 196 00:09:24,665 --> 00:09:27,870 If you start from there, then every note, every phrase, 197 00:09:27,870 --> 00:09:30,580 every sound you play is going to have meaning. 198 00:09:33,220 --> 00:09:35,550 And over the course of this class, 199 00:09:35,550 --> 00:09:38,390 we'll figure out different ways to approach it. 200 00:09:38,390 --> 00:09:40,909 Different kinds of meaning that you can have. 201 00:09:40,909 --> 00:09:42,450 And you'll get a chance to experiment 202 00:09:42,450 --> 00:09:45,200 with different ideas of your own. 203 00:09:45,200 --> 00:09:49,660 To see what your personal universe of sound 204 00:09:49,660 --> 00:09:52,270 contributes to this group. 205 00:09:52,270 --> 00:09:53,650 Into what we do as improvisers. 206 00:09:58,110 --> 00:10:00,100 So today I was think and we'd start off-- 207 00:10:00,100 --> 00:10:02,500 since we're dealing with graphic notation 208 00:10:02,500 --> 00:10:05,030 and I think we're going into some stuff with film 209 00:10:05,030 --> 00:10:07,717 improvising the film later-- we're 210 00:10:07,717 --> 00:10:09,800 going to skip over a lot of things I would usually 211 00:10:09,800 --> 00:10:15,120 do in the beginning group and go into some more stuff that's 212 00:10:15,120 --> 00:10:20,310 related to more visual parameters and movement. 213 00:10:20,310 --> 00:10:22,970 Different things that you might be encountering 214 00:10:22,970 --> 00:10:25,430 in the course of your next few classes and your next few 215 00:10:25,430 --> 00:10:26,800 assignments. 216 00:10:26,800 --> 00:10:29,350 So what I'd like to do is start off with an exercise. 217 00:10:29,350 --> 00:10:32,460 We'll all come up without instruments. 218 00:10:32,460 --> 00:10:36,560 A lot of times I'll start off with some theater 219 00:10:36,560 --> 00:10:38,670 exercises or exercises that don't 220 00:10:38,670 --> 00:10:42,070 involve instruments as a warm up. 221 00:10:46,930 --> 00:10:50,750 So we are filming today, so usually I'd do a circle, 222 00:10:50,750 --> 00:10:52,530 but I think for the sake of the camera, 223 00:10:52,530 --> 00:10:54,160 we'll do sort of like a semicircle 224 00:10:54,160 --> 00:10:58,290 if you can just get in a big arc here so you can all 225 00:10:58,290 --> 00:11:00,540 see each other but still leave an opening 226 00:11:00,540 --> 00:11:03,100 so we're not staring in the back of anybody's head. 227 00:11:09,550 --> 00:11:13,460 This exercise is a very simple exercise. 228 00:11:13,460 --> 00:11:17,440 It's about movement and sound, and the way it works is this. 229 00:11:17,440 --> 00:11:23,490 One person comes out here to the center, or actually, 230 00:11:23,490 --> 00:11:26,800 thinking of the camera placement. 231 00:11:26,800 --> 00:11:28,650 The center might not work so good. 232 00:11:28,650 --> 00:11:32,899 Might have just a step forward from where you are, 233 00:11:32,899 --> 00:11:34,440 and what you're going to do is you're 234 00:11:34,440 --> 00:11:37,430 going to make a gesture and a sound. 235 00:11:37,430 --> 00:11:38,330 It can be anything. 236 00:11:38,330 --> 00:11:40,810 It can be any kind of gesture, any kind of sound, 237 00:11:40,810 --> 00:11:42,570 and you're going to repeat it. 238 00:11:42,570 --> 00:11:45,770 And then everybody else is going to repeat it with you. 239 00:11:48,485 --> 00:11:49,360 Does that make sense? 240 00:11:49,360 --> 00:11:50,610 And then after we do it for a while, 241 00:11:50,610 --> 00:11:53,140 everybody gets into the groove, it's how we got it going on, 242 00:11:53,140 --> 00:11:55,490 then you're going to go and take someone's place 243 00:11:55,490 --> 00:12:00,310 and they're going to step out and do theirs. 244 00:12:00,310 --> 00:12:02,810 And so on until everybody gets a chance to do it. 245 00:12:02,810 --> 00:12:03,490 Yeah? 246 00:12:03,490 --> 00:12:04,440 All right. 247 00:12:04,440 --> 00:12:08,230 So, I'll start. 248 00:12:08,230 --> 00:12:11,120 Let's see. 249 00:12:11,120 --> 00:12:13,910 We might need to get a little space 250 00:12:13,910 --> 00:12:18,820 in between each other just in case there's movement involved. 251 00:12:18,820 --> 00:12:19,380 All right. 252 00:12:27,344 --> 00:12:28,778 Boing! 253 00:12:28,778 --> 00:12:31,180 Boing! 254 00:12:31,180 --> 00:12:33,130 Boing! 255 00:12:33,130 --> 00:12:34,640 Boing! 256 00:12:34,640 --> 00:12:36,110 Boing! 257 00:12:36,110 --> 00:12:37,850 ALL: Boing! 258 00:12:37,850 --> 00:12:39,382 Boing! 259 00:12:39,382 --> 00:12:42,982 Boing Boing! 260 00:12:42,982 --> 00:12:44,398 Boing! 261 00:12:44,398 --> 00:12:46,036 Boing! 262 00:12:46,036 --> 00:12:47,970 Boing! 263 00:12:47,970 --> 00:12:49,470 Boing! 264 00:12:49,470 --> 00:12:50,970 Boing! 265 00:12:50,970 --> 00:12:52,462 Boing! 266 00:12:52,462 --> 00:12:53,950 Boing! 267 00:12:53,950 --> 00:12:55,934 Boing! 268 00:12:55,934 --> 00:12:58,406 Boing! 269 00:12:58,406 --> 00:13:01,864 [GROANING] 270 00:13:17,030 --> 00:13:20,032 [CLEARING THROAT] 271 00:13:35,030 --> 00:13:38,514 [POPPING SOUND] 272 00:13:46,112 --> 00:13:47,820 INSTRUCTOR: Just be aware that everything 273 00:13:47,820 --> 00:13:50,734 that the person does actually has meaning. 274 00:13:50,734 --> 00:13:53,150 So their facial expression-- everything that they're doing 275 00:13:53,150 --> 00:13:54,709 is potential. 276 00:13:54,709 --> 00:13:58,202 [WHISTLING] 277 00:14:09,106 --> 00:14:11,700 [DRUMMING SOUND] 278 00:14:22,720 --> 00:14:25,000 AUDIENCE: Bada! 279 00:14:25,000 --> 00:14:27,010 ALL: Bada! 280 00:14:27,010 --> 00:14:29,230 Bada! 281 00:14:29,230 --> 00:14:31,330 Bada! 282 00:14:31,330 --> 00:14:33,360 Bada! 283 00:14:33,360 --> 00:14:35,630 Bada! 284 00:14:35,630 --> 00:14:37,780 Bada! 285 00:14:37,780 --> 00:14:40,800 [SCREECHING SOUND] 286 00:14:51,740 --> 00:14:53,480 AUDIENCE: Ding-dong. 287 00:14:53,480 --> 00:14:55,680 ALL: Ding-dong. 288 00:14:55,680 --> 00:14:58,030 Ding-dong. 289 00:14:58,030 --> 00:15:00,190 Ding-dong. 290 00:15:00,190 --> 00:15:02,560 Ding-dong. 291 00:15:02,560 --> 00:15:03,980 Ding-dong. 292 00:15:03,980 --> 00:15:07,252 [SNEEZING] 293 00:15:17,445 --> 00:15:20,910 [DEFLATION SOUND] 294 00:15:33,780 --> 00:15:37,063 [DRUMMING] 295 00:15:50,722 --> 00:15:54,194 [MEOWING] 296 00:16:05,133 --> 00:16:08,612 [GRUNTING] 297 00:16:16,127 --> 00:16:17,210 AUDIENCE: Who hasn't gone? 298 00:16:17,210 --> 00:16:18,251 INSTRUCTOR: I don't know. 299 00:16:18,251 --> 00:16:20,500 Is anybody left? 300 00:16:20,500 --> 00:16:23,310 Did everybody go? 301 00:16:23,310 --> 00:16:23,810 Yeah? 302 00:16:23,810 --> 00:16:24,132 AUDIENCE: Yeah? 303 00:16:24,132 --> 00:16:24,780 Woo! 304 00:16:24,780 --> 00:16:26,250 INSTRUCTOR: Haha, good. 305 00:16:26,250 --> 00:16:27,310 Excellent. 306 00:16:27,310 --> 00:16:30,170 Now the interesting thing about this to me, and it's 307 00:16:30,170 --> 00:16:32,470 really fascinating and fun every time 308 00:16:32,470 --> 00:16:37,980 is that we do associate movement and sound. 309 00:16:37,980 --> 00:16:41,450 There was no accident that you chose this movement 310 00:16:41,450 --> 00:16:44,720 to go with that sound or that sound to go with this movement. 311 00:16:44,720 --> 00:16:46,850 There's connections we have in our brains 312 00:16:46,850 --> 00:16:50,240 about what kind of movement sound like what. 313 00:16:50,240 --> 00:16:53,060 And what kind of sounds would be what kind of movement. 314 00:16:57,080 --> 00:17:00,920 So we're going on sped up time here, 315 00:17:00,920 --> 00:17:03,680 so what I'd like to do is get some instruments 316 00:17:03,680 --> 00:17:05,770 and what I want to do is have some people 317 00:17:05,770 --> 00:17:09,000 move and some people play. 318 00:17:09,000 --> 00:17:10,927 Let's go in half. 319 00:17:10,927 --> 00:17:12,760 So we'll have-- so, just for now-- let's see 320 00:17:12,760 --> 00:17:15,433 one, two, three, four, five six. 321 00:17:15,433 --> 00:17:19,660 We'll have you all play and you all are going to move. 322 00:17:25,650 --> 00:17:27,410 I include you when I say play. 323 00:17:27,410 --> 00:17:29,990 It's all play. 324 00:17:29,990 --> 00:17:31,640 All instrumenting is playing. 325 00:17:31,640 --> 00:17:33,220 So here's the thing. 326 00:17:33,220 --> 00:17:40,580 Here's what I want to do is-- oh, yeah, let's do that. 327 00:17:40,580 --> 00:17:41,090 Yeah. 328 00:17:41,090 --> 00:17:42,423 Let's just switch with somebody. 329 00:17:44,844 --> 00:17:47,260 Why don't we switch you since you don't have an instrument 330 00:17:47,260 --> 00:17:51,840 to pick up what those guys are already picking up. 331 00:17:51,840 --> 00:17:52,960 So, let's do this. 332 00:17:52,960 --> 00:17:55,470 There's a lot of-- I've never done it quite this way before, 333 00:17:55,470 --> 00:17:57,650 so let's experiment some and see how this works. 334 00:18:02,880 --> 00:18:04,800 All you people, what I want you to do 335 00:18:04,800 --> 00:18:07,590 is you have all this space to move in. 336 00:18:07,590 --> 00:18:09,430 You can move however you want. 337 00:18:09,430 --> 00:18:10,350 OK? 338 00:18:10,350 --> 00:18:12,700 You can walk around, you can turn around, 339 00:18:12,700 --> 00:18:13,760 you can stand still. 340 00:18:13,760 --> 00:18:16,380 Whatever you want to do. 341 00:18:16,380 --> 00:18:17,010 Each of you. 342 00:18:17,010 --> 00:18:22,380 I want each of you to pick one of these people and play them. 343 00:18:22,380 --> 00:18:25,900 Make sounds that you think go with how they're moving. 344 00:18:25,900 --> 00:18:26,400 OK? 345 00:18:29,150 --> 00:18:31,370 No, we'll all go at once. 346 00:18:31,370 --> 00:18:35,540 Chaos is good in the beginning especially. 347 00:18:35,540 --> 00:18:38,320 Less stress. 348 00:18:38,320 --> 00:18:39,820 Ready? 349 00:18:39,820 --> 00:18:40,890 All right? 350 00:18:40,890 --> 00:18:42,840 Get set. 351 00:18:42,840 --> 00:18:45,076 Go. 352 00:18:45,076 --> 00:18:48,569 [VARIOUS MUSIC PLAYING] 353 00:19:46,535 --> 00:19:47,451 INSTRUCTOR: All right. 354 00:19:47,451 --> 00:19:48,840 Guys, guys! 355 00:19:48,840 --> 00:19:49,469 I gotcha now. 356 00:19:49,469 --> 00:19:50,760 You guys look like you're done. 357 00:19:50,760 --> 00:19:54,520 You guys look like you're done over here. 358 00:19:54,520 --> 00:19:59,101 Good, so do you guys-- do you know who was playing you? 359 00:19:59,101 --> 00:19:59,976 AUDIENCE: [INAUDIBLE] 360 00:20:03,894 --> 00:20:04,560 INSTRUCTOR: Yup. 361 00:20:04,560 --> 00:20:05,220 Anybody else? 362 00:20:05,220 --> 00:20:08,320 Anybody else feel did you catch that correspondence 363 00:20:08,320 --> 00:20:10,270 between who was playing you? 364 00:20:10,270 --> 00:20:10,915 No? 365 00:20:10,915 --> 00:20:12,703 Who were you playing? 366 00:20:12,703 --> 00:20:13,578 AUDIENCE: [INAUDIBLE] 367 00:20:16,345 --> 00:20:17,386 INSTRUCTOR: Anybody else? 368 00:20:17,386 --> 00:20:18,570 AUDIENCE: Me too. 369 00:20:18,570 --> 00:20:20,361 I think it was the tall blond-haired thing. 370 00:20:23,220 --> 00:20:25,750 INSTRUCTOR: He made the most dramatic movement initially, 371 00:20:25,750 --> 00:20:27,187 which attracts attention. 372 00:20:27,187 --> 00:20:28,770 Which is-- the other interesting thing 373 00:20:28,770 --> 00:20:32,140 is that you were moving in such a-- 374 00:20:32,140 --> 00:20:37,150 you were moving initially in a very rhythmic way, which 375 00:20:37,150 --> 00:20:41,460 allowed him to set up that rhythmic correspondence. 376 00:20:41,460 --> 00:20:43,020 And sort of everything in the group 377 00:20:43,020 --> 00:20:44,385 sort of revolved around that. 378 00:20:44,385 --> 00:20:46,760 You remember we were talking in the first class about how 379 00:20:46,760 --> 00:20:48,940 when you set up a pulse, when you set up a rhythm. 380 00:20:48,940 --> 00:20:50,710 It just attracts things to it. 381 00:20:50,710 --> 00:20:57,370 Yeah, it just does because we're-- that's how we survive. 382 00:20:57,370 --> 00:20:57,870 Right? 383 00:20:57,870 --> 00:21:01,390 Without rhythm we would all be dead. 384 00:21:01,390 --> 00:21:02,650 Literally. 385 00:21:02,650 --> 00:21:03,150 Right? 386 00:21:03,150 --> 00:21:04,910 It's the rhythmic beating of our heart. 387 00:21:04,910 --> 00:21:08,630 It's the rhythmic bleeding in and out of our bodies. 388 00:21:08,630 --> 00:21:10,660 It's all these rhythmic movements inside of us 389 00:21:10,660 --> 00:21:12,710 that enable us to keep living. 390 00:21:12,710 --> 00:21:16,160 Our process is a rhythmic process as humans. 391 00:21:16,160 --> 00:21:17,269 Sleep and wake, you know? 392 00:21:17,269 --> 00:21:19,310 I mean we're surrounded by our rhythmic universe. 393 00:21:19,310 --> 00:21:20,830 So, we're attracted to it. 394 00:21:20,830 --> 00:21:21,690 And we see that. 395 00:21:21,690 --> 00:21:26,020 We understand the sense of that. 396 00:21:26,020 --> 00:21:26,780 Really fast. 397 00:21:26,780 --> 00:21:29,559 Faster than other kinds of things. 398 00:21:29,559 --> 00:21:31,850 So it's just something to be aware of as an improviser. 399 00:21:31,850 --> 00:21:33,599 When you set up a pulse or when you set up 400 00:21:33,599 --> 00:21:36,030 a rhythm that repeats, it's going to attract attention 401 00:21:36,030 --> 00:21:37,530 and it's going to-- people are going 402 00:21:37,530 --> 00:21:41,040 to go to it until you repeat it for too long 403 00:21:41,040 --> 00:21:43,867 and then they're not going to hear it anymore. 404 00:21:43,867 --> 00:21:45,950 Like the air conditioner that goes on in the room. 405 00:21:45,950 --> 00:21:47,366 You hear it's really loud at first 406 00:21:47,366 --> 00:21:49,104 and then you don't hear it. 407 00:21:49,104 --> 00:21:50,270 So rhythm is like that, too. 408 00:21:50,270 --> 00:21:52,890 If you repeat the same rhythm over and over and over again, 409 00:21:52,890 --> 00:21:55,250 after a certain amount, people stop hearing it. 410 00:21:55,250 --> 00:21:57,690 So that's another challenge when we're dealing with groove 411 00:21:57,690 --> 00:22:00,680 and rhythm is how to keep it alive and fresh even 412 00:22:00,680 --> 00:22:02,490 though it's repetitious. 413 00:22:02,490 --> 00:22:04,271 Let's switch roles. 414 00:22:04,271 --> 00:22:06,020 I'm going to say a lot of different things 415 00:22:06,020 --> 00:22:09,020 and basically I say what comes into my head 416 00:22:09,020 --> 00:22:11,235 based on what happens, you know? 417 00:22:11,235 --> 00:22:13,360 Things that I see that I think might be interesting 418 00:22:13,360 --> 00:22:19,740 or might give you some kind of little insight, little idea 419 00:22:19,740 --> 00:22:21,799 about how improvisation works. 420 00:22:21,799 --> 00:22:23,590 I don't expect you to particularly remember 421 00:22:23,590 --> 00:22:28,600 it all or even think about it much, 422 00:22:28,600 --> 00:22:33,030 but I do expect that-- a lot of this process 423 00:22:33,030 --> 00:22:35,320 is about bringing things to your awareness 424 00:22:35,320 --> 00:22:38,910 because we all mostly understand and have dealt 425 00:22:38,910 --> 00:22:41,400 with improvisation in our lives as a completely 426 00:22:41,400 --> 00:22:43,386 unconscious process. 427 00:22:43,386 --> 00:22:45,810 It's something we use continually 428 00:22:45,810 --> 00:22:48,850 all the time throughout our entire lives, 429 00:22:48,850 --> 00:22:52,070 and probably-- unless you're a jazz player-- no one has ever 430 00:22:52,070 --> 00:22:58,010 even mentioned it or talk to you at all about how it works. 431 00:22:58,010 --> 00:23:00,640 Which is, to me, shocking. 432 00:23:00,640 --> 00:23:05,260 So we hope to rectify that a little bit in this 433 00:23:05,260 --> 00:23:08,340 because basically every innovation 434 00:23:08,340 --> 00:23:11,300 springs out of a moment of improvisation. 435 00:23:11,300 --> 00:23:15,290 So the more aware you can be, the more 436 00:23:15,290 --> 00:23:19,590 things about improvisation-- tools of improvisation 437 00:23:19,590 --> 00:23:22,300 that you are aware of and can bring into your consciousness 438 00:23:22,300 --> 00:23:25,250 and work with consciously, the more able 439 00:23:25,250 --> 00:23:27,430 you're going to be to be creative. 440 00:23:27,430 --> 00:23:31,750 To be innovative no matter what it is that you're doing. 441 00:23:31,750 --> 00:23:32,890 All right, so we split up? 442 00:23:32,890 --> 00:23:34,930 We got our two groups? 443 00:23:34,930 --> 00:23:37,450 And go! 444 00:23:40,432 --> 00:23:43,911 [MUSIC PLAYING] 445 00:24:55,080 --> 00:24:56,054 INSTRUCTOR: Good. 446 00:24:56,054 --> 00:24:59,135 Good, good, good. 447 00:24:59,135 --> 00:25:02,500 That was a nice ending place. 448 00:25:02,500 --> 00:25:07,252 One of the things I think we'll have to work on fairly soon-- 449 00:25:07,252 --> 00:25:09,460 I don't think today, but maybe next time-- is ending. 450 00:25:12,880 --> 00:25:16,960 We'll do a little session on beginnings and endings. 451 00:25:16,960 --> 00:25:20,310 But for right now I'll just stop you. 452 00:25:20,310 --> 00:25:24,410 Or you can stop for yourself if you feel like it's done. 453 00:25:24,410 --> 00:25:24,910 Right. 454 00:25:24,910 --> 00:25:25,993 So now, let's switch this. 455 00:25:25,993 --> 00:25:29,520 So now what I want to happen is I 456 00:25:29,520 --> 00:25:33,270 want the people that are moving to pick a person that's 457 00:25:33,270 --> 00:25:36,285 playing, and move how they're playing. 458 00:25:36,285 --> 00:25:38,160 Now you guys are just going to start playing. 459 00:25:38,160 --> 00:25:39,365 Improvising together. 460 00:25:39,365 --> 00:25:40,990 And at this point, don't worry too much 461 00:25:40,990 --> 00:25:43,110 about what you're doing. 462 00:25:43,110 --> 00:25:44,940 Just have some fun. 463 00:25:44,940 --> 00:25:46,820 Just like we were when you came out and did 464 00:25:46,820 --> 00:25:49,960 a sound and a motion. 465 00:25:49,960 --> 00:25:52,060 And then you all who are moving are 466 00:25:52,060 --> 00:25:54,790 going to pick one of the people that are making sounds 467 00:25:54,790 --> 00:25:58,590 and you're going to move to their sounds. 468 00:25:58,590 --> 00:25:59,090 What's that? 469 00:25:59,090 --> 00:26:00,800 AUDIENCE: Should we try and play something together? 470 00:26:00,800 --> 00:26:03,216 INSTRUCTOR: I don't think you should try too much anything 471 00:26:03,216 --> 00:26:04,396 right now. 472 00:26:04,396 --> 00:26:06,020 A lot of times when you're improvising, 473 00:26:06,020 --> 00:26:10,981 if you try too much it makes it really hard to improvise. 474 00:26:10,981 --> 00:26:12,480 And one of the great things actually 475 00:26:12,480 --> 00:26:14,740 about doing structured improvisations, 476 00:26:14,740 --> 00:26:19,170 which is the secret goal of a structured improvisation, 477 00:26:19,170 --> 00:26:23,260 is to give your mind-- your conscious mind, your monkey 478 00:26:23,260 --> 00:26:27,650 mind, something to latch onto-- so that you can actually 479 00:26:27,650 --> 00:26:28,550 improvise freely. 480 00:26:31,016 --> 00:26:32,890 So yeah, I don't think too much about it yet. 481 00:26:32,890 --> 00:26:35,264 We'll give you more things to think about as we go along. 482 00:26:35,264 --> 00:26:37,630 For now, I think it's just important to have 483 00:26:37,630 --> 00:26:39,070 some fun making sounds. 484 00:26:39,070 --> 00:26:41,741 I mean, the interesting thing-- if you were paying attention 485 00:26:41,741 --> 00:26:43,990 on these last two exercises-- the interesting thing is 486 00:26:43,990 --> 00:26:45,870 the music was actually very interesting. 487 00:26:45,870 --> 00:26:49,130 You guys actually did play together 488 00:26:49,130 --> 00:26:51,850 even though that wasn't our objective, 489 00:26:51,850 --> 00:26:54,374 and you certainly didn't have any thing to say, 490 00:26:54,374 --> 00:26:55,790 oh, you're going to move together, 491 00:26:55,790 --> 00:26:57,740 you're going to play together. 492 00:26:57,740 --> 00:27:00,340 The fact is that people-- you get 493 00:27:00,340 --> 00:27:04,650 a group of people in any situation doing something 494 00:27:04,650 --> 00:27:08,280 together, and they're going to-- doing stuff. 495 00:27:08,280 --> 00:27:10,600 They're going to start to do it together. 496 00:27:10,600 --> 00:27:13,330 Just how we work. 497 00:27:13,330 --> 00:27:15,170 As you get better as an improviser 498 00:27:15,170 --> 00:27:18,530 and more conscious and more aware of the possibilities 499 00:27:18,530 --> 00:27:21,890 that are around and what your personal preferences 500 00:27:21,890 --> 00:27:25,710 and possibilities are, then you'll 501 00:27:25,710 --> 00:27:29,920 be able to be more conscious about being together. 502 00:27:29,920 --> 00:27:31,526 You'll have more choices. 503 00:27:31,526 --> 00:27:32,900 But right now I think we can just 504 00:27:32,900 --> 00:27:36,170 rely on our natural instinct to make things sound good 505 00:27:36,170 --> 00:27:38,127 and be together. 506 00:27:38,127 --> 00:27:38,960 And not think about. 507 00:27:38,960 --> 00:27:39,620 OK, ready? 508 00:27:44,830 --> 00:27:46,720 OK, here, let's just do this for a second. 509 00:27:46,720 --> 00:27:48,178 Because this is going to be harder. 510 00:27:48,178 --> 00:27:51,080 Because-- well, it might not be. 511 00:27:51,080 --> 00:27:53,270 See, like I'm already putting expectations on you. 512 00:27:53,270 --> 00:27:55,000 It might-- it's just going to be totally easy, actually. 513 00:27:55,000 --> 00:27:56,190 Let's just-- ready? 514 00:27:56,190 --> 00:27:56,930 Let's go. 515 00:27:56,930 --> 00:27:59,142 Go!. 516 00:27:59,142 --> 00:28:02,180 [MUSIC PLAYING] 517 00:28:36,284 --> 00:28:38,160 INSTRUCTOR: We're going stop here. 518 00:28:38,160 --> 00:28:38,660 Stop. 519 00:28:38,660 --> 00:28:39,546 Let's try this again. 520 00:28:39,546 --> 00:28:40,670 I'm going to add one thing. 521 00:28:40,670 --> 00:28:44,450 One is I want you guys to feel free to come into here. 522 00:28:44,450 --> 00:28:46,420 So you have all this space. 523 00:28:46,420 --> 00:28:51,117 It's a little intimidating, but you 524 00:28:51,117 --> 00:28:52,450 have all this space to do stuff. 525 00:28:52,450 --> 00:28:54,030 So let's use this space. 526 00:28:54,030 --> 00:28:57,740 You guys, I want you to also be aware of the rest of the group. 527 00:28:57,740 --> 00:29:02,910 We'll say that now, because-- but be aware of them 528 00:29:02,910 --> 00:29:05,160 in the same way that you were aware of the people that 529 00:29:05,160 --> 00:29:07,140 were moving. 530 00:29:07,140 --> 00:29:09,020 You know, like when the people were moving 531 00:29:09,020 --> 00:29:10,556 and you guys were playing. 532 00:29:10,556 --> 00:29:12,430 You were aware of what everybody was playing, 533 00:29:12,430 --> 00:29:14,350 but you weren't that worried about it. 534 00:29:14,350 --> 00:29:17,920 You were just playing stuff that felt good and related to what's 535 00:29:17,920 --> 00:29:18,700 going on. 536 00:29:18,700 --> 00:29:21,696 Let's do the same thing. 537 00:29:21,696 --> 00:29:22,570 All right, you ready? 538 00:29:22,570 --> 00:29:23,653 Let's do it one more time. 539 00:29:23,653 --> 00:29:25,660 Same groups. 540 00:29:25,660 --> 00:29:27,040 So here-- everybody come out. 541 00:29:27,040 --> 00:29:29,500 Let's all spread out in here just so you're in a space 542 00:29:29,500 --> 00:29:30,130 already. 543 00:29:30,130 --> 00:29:31,980 You don't have to inhabit the space. 544 00:29:31,980 --> 00:29:34,690 You could just be in the space. 545 00:29:34,690 --> 00:29:37,660 And now I want you guys-- before we 546 00:29:37,660 --> 00:29:41,820 start-- to pick one of the people to move to. 547 00:29:41,820 --> 00:29:44,760 So then you'll know-- you know already 548 00:29:44,760 --> 00:29:46,790 when you're going to move and when you're not. 549 00:29:46,790 --> 00:29:50,230 You guys that are playing? 550 00:29:50,230 --> 00:29:53,240 Don't feel like you all have to start at once. 551 00:29:53,240 --> 00:29:54,880 Wait, let's add this. 552 00:29:54,880 --> 00:29:55,470 This is fun. 553 00:29:55,470 --> 00:29:58,990 Let's wait until you actually feel 554 00:29:58,990 --> 00:30:03,630 an impulse to make a sound, and then make a sound. 555 00:30:03,630 --> 00:30:05,700 OK? 556 00:30:05,700 --> 00:30:07,260 So that's our structure. 557 00:30:07,260 --> 00:30:09,897 Wait until you have an impulse to make a sound. 558 00:30:09,897 --> 00:30:10,730 Then make the sound. 559 00:30:10,730 --> 00:30:13,800 As soon as you don't have that impose anymore, stop. 560 00:30:13,800 --> 00:30:16,280 You guys pick ahead of time before they even 561 00:30:16,280 --> 00:30:18,750 start playing who you're moving to. 562 00:30:18,750 --> 00:30:20,500 And let's go! 563 00:30:20,500 --> 00:30:23,930 [MUSIC PLAYING] 564 00:30:39,065 --> 00:30:40,315 INSTRUCTOR: OK, wait a second! 565 00:30:40,315 --> 00:30:42,260 Let's stop again. 566 00:30:42,260 --> 00:30:45,300 I gave you a bad start for this. 567 00:30:45,300 --> 00:30:46,200 Hold on, let's stop. 568 00:30:46,200 --> 00:30:46,949 Let's start again. 569 00:30:46,949 --> 00:30:49,640 I gave you a bad start for this because the kind of exercise 570 00:30:49,640 --> 00:30:51,760 we just proposed is better if you guys have 571 00:30:51,760 --> 00:30:53,400 a little sounds just ahead of it. 572 00:30:53,400 --> 00:30:56,400 So you can actually-- you guys can 573 00:30:56,400 --> 00:30:59,710 make a choice about when to come in. 574 00:30:59,710 --> 00:31:01,630 So let's start that again. 575 00:31:01,630 --> 00:31:04,389 That was my fault as director here. 576 00:31:04,389 --> 00:31:05,430 All right, so same thing. 577 00:31:05,430 --> 00:31:06,765 Inhabit the space. 578 00:31:06,765 --> 00:31:08,375 Get in the space. 579 00:31:08,375 --> 00:31:09,620 Come on. 580 00:31:09,620 --> 00:31:10,940 Everybody in the space. 581 00:31:10,940 --> 00:31:12,090 All right. 582 00:31:12,090 --> 00:31:17,065 So you guys right now pick who you're following. 583 00:31:20,897 --> 00:31:21,730 Is everybody picked? 584 00:31:25,498 --> 00:31:27,760 All right, and you guys take a second. 585 00:31:27,760 --> 00:31:30,060 Just pay attention to yourself. 586 00:31:30,060 --> 00:31:35,730 Wait to feel like you want to play something, and then play. 587 00:31:35,730 --> 00:31:39,167 [MUSIC PLAYING] 588 00:32:59,080 --> 00:33:00,120 INSTRUCTOR: Nice. 589 00:33:00,120 --> 00:33:00,620 Nice. 590 00:33:00,620 --> 00:33:01,720 Great ending, too. 591 00:33:01,720 --> 00:33:02,220 Awesome. 592 00:33:02,220 --> 00:33:04,870 All right, switch-- let's switch roles. 593 00:33:04,870 --> 00:33:07,440 people People who have been moving, get your instruments. 594 00:33:07,440 --> 00:33:08,110 That was great. 595 00:33:12,585 --> 00:33:13,210 That was great. 596 00:33:13,210 --> 00:33:13,960 The same exercise. 597 00:33:33,314 --> 00:33:35,730 I'm just going to move this back a little bit just in case 598 00:33:35,730 --> 00:33:36,993 anybody gets enthusiastic. 599 00:33:39,520 --> 00:33:41,882 All right, so we got movers? 600 00:33:41,882 --> 00:33:42,465 AUDIENCE: Mhm. 601 00:33:42,465 --> 00:33:45,820 INSTRUCTOR: Inhabit your space. 602 00:33:45,820 --> 00:33:47,270 There you go. 603 00:33:47,270 --> 00:33:48,130 AUDIENCE: OK. 604 00:33:48,130 --> 00:33:49,600 INSTRUCTOR: All right. 605 00:33:49,600 --> 00:33:52,612 Now pick who you're going to follow. 606 00:33:52,612 --> 00:33:54,695 Pick which instrumentalist you're going to follow. 607 00:33:58,120 --> 00:34:02,550 Now the people that are playing instruments, take a moment. 608 00:34:02,550 --> 00:34:04,030 And whenever you're ready. 609 00:34:11,365 --> 00:34:14,788 [MUSIC PLAYING] 610 00:35:45,624 --> 00:35:46,540 INSTRUCTOR: Excellent. 611 00:35:46,540 --> 00:35:48,440 Just for balance, let's do another one. 612 00:35:48,440 --> 00:35:51,240 Same groups. 613 00:35:51,240 --> 00:35:52,740 This time when we're playing, I want 614 00:35:52,740 --> 00:35:58,200 you to change the mood of what you were playing. 615 00:36:03,417 --> 00:36:04,000 So same thing. 616 00:36:04,000 --> 00:36:05,476 You guys pick. 617 00:36:05,476 --> 00:36:08,935 Pick a different person then you picked before. 618 00:36:13,816 --> 00:36:15,582 You got it? 619 00:36:15,582 --> 00:36:16,800 All right. 620 00:36:16,800 --> 00:36:17,540 You guys ready? 621 00:36:23,468 --> 00:36:25,444 OK. 622 00:36:25,444 --> 00:36:28,902 [MUSIC PLAYING] 623 00:38:01,220 --> 00:38:02,392 [LAUGHING] 624 00:38:02,392 --> 00:38:03,100 INSTRUCTOR: Nice. 625 00:38:03,100 --> 00:38:04,690 Nice work. 626 00:38:04,690 --> 00:38:06,260 I must commend all of you. 627 00:38:06,260 --> 00:38:08,251 Those are really hard exercises to start off 628 00:38:08,251 --> 00:38:10,250 the class-- for the first class, because they're 629 00:38:10,250 --> 00:38:12,290 very-- you know, you got to do some weird stuff. 630 00:38:12,290 --> 00:38:14,660 So I commend you. 631 00:38:14,660 --> 00:38:18,482 Thank you for being so generous if you were scared on that. 632 00:38:18,482 --> 00:38:20,190 Let's have everybody get our instruments. 633 00:38:20,190 --> 00:38:21,250 We'll go onto something else because I 634 00:38:21,250 --> 00:38:22,810 wanted to get some graphic stuff in 635 00:38:22,810 --> 00:38:26,410 here too before we have to leave today. 636 00:38:26,410 --> 00:38:28,180 So that just gives you some ideas. 637 00:38:28,180 --> 00:38:32,000 Gets you into that universe of like, oh, movement and sound. 638 00:38:32,000 --> 00:38:33,319 They go together. 639 00:38:33,319 --> 00:38:35,360 And if you watch, you can watch like while you're 640 00:38:35,360 --> 00:38:36,070 walking around. 641 00:38:36,070 --> 00:38:40,766 Watch people as they walk and talk. 642 00:38:40,766 --> 00:38:42,120 Just look at nature. 643 00:38:42,120 --> 00:38:44,654 See how sounds and movements go together, 644 00:38:44,654 --> 00:38:46,570 and that would give you some interesting ideas 645 00:38:46,570 --> 00:38:53,119 and some interesting things to play with-- oh, OK. 646 00:38:53,119 --> 00:38:54,660 They give you some interesting things 647 00:38:54,660 --> 00:39:00,841 to play with when you start doing work with film. 648 00:39:00,841 --> 00:39:02,340 All right, here, you guys over there 649 00:39:02,340 --> 00:39:04,465 because I'm going to draw some things on the board. 650 00:39:09,050 --> 00:39:09,550 So 651 00:39:09,550 --> 00:39:11,383 I'm going to just do some real quick things. 652 00:39:11,383 --> 00:39:18,970 Just playing around with gestures and graphic elements, 653 00:39:18,970 --> 00:39:22,489 and what first impressions of them are. 654 00:39:22,489 --> 00:39:24,780 So we're just going to have some fun playing with this. 655 00:39:24,780 --> 00:39:25,790 So, you know, talking about those kind 656 00:39:25,790 --> 00:39:26,940 of graphic parameters. 657 00:39:26,940 --> 00:39:29,800 So this-- what does that sound like? 658 00:39:29,800 --> 00:39:32,265 [STRUMMING INSTRUMENTS] 659 00:39:37,120 --> 00:39:38,380 Right. 660 00:39:38,380 --> 00:39:39,880 So there's a lot of things-- there's 661 00:39:39,880 --> 00:39:40,963 a lot of things like that. 662 00:39:40,963 --> 00:39:43,415 That we just have associations with, you know? 663 00:39:46,680 --> 00:39:47,380 How about this? 664 00:39:50,664 --> 00:39:55,460 [PLAYING INSTRUMENTS] 665 00:39:55,460 --> 00:39:56,460 INSTRUCTOR: Interesting. 666 00:39:56,460 --> 00:39:58,210 So there's some interesting associations, 667 00:39:58,210 --> 00:40:02,290 which is that we tend to think of music visually. 668 00:40:02,290 --> 00:40:06,950 Particularly if you've grown up reading music. 669 00:40:06,950 --> 00:40:07,970 That's up. 670 00:40:07,970 --> 00:40:12,446 Up and down means the same thing in whatever kind of space. 671 00:40:12,446 --> 00:40:14,070 Whether you're working in musical space 672 00:40:14,070 --> 00:40:17,620 or you're working in graphic space, you know? 673 00:40:17,620 --> 00:40:22,995 Short and long-- We associate-- 674 00:40:22,995 --> 00:40:23,870 [PLAYING INSTRUMENTS] 675 00:40:23,870 --> 00:40:25,850 Yeah, exactly. 676 00:40:25,850 --> 00:40:29,500 This 677 00:40:29,500 --> 00:40:32,224 [PLAYING INSTRUMENTS] 678 00:40:32,224 --> 00:40:33,390 All right, and if I do this? 679 00:40:37,000 --> 00:40:39,774 [PLAYING INSTRUMENTS] 680 00:40:43,830 --> 00:40:45,340 So short and long. 681 00:40:45,340 --> 00:40:47,900 It's a parameter that has a certain meaning. 682 00:40:47,900 --> 00:40:54,130 Whether you're moving or whether you're drawing 683 00:40:54,130 --> 00:40:57,670 or whether you're playing sounds. 684 00:40:57,670 --> 00:40:59,600 Up and down. 685 00:40:59,600 --> 00:41:02,290 High and low. 686 00:41:02,290 --> 00:41:03,601 What would that be? 687 00:41:03,601 --> 00:41:04,912 [INSTRUMENT STRUM] 688 00:41:04,912 --> 00:41:07,026 What would this be? 689 00:41:07,026 --> 00:41:09,918 [INSTRUMENTS PLAYING] 690 00:41:09,918 --> 00:41:11,750 Right, right. 691 00:41:11,750 --> 00:41:13,500 So all these kinds of things have meaning. 692 00:41:13,500 --> 00:41:17,752 And then there's things that have-- so there's 693 00:41:17,752 --> 00:41:19,460 all these different parameters like that. 694 00:41:19,460 --> 00:41:21,590 That we just have associations with because 695 00:41:21,590 --> 00:41:26,240 of our spatial awareness. 696 00:41:26,240 --> 00:41:28,310 There's other ones that, if you're a musician, 697 00:41:28,310 --> 00:41:32,540 you might have a sense of. 698 00:41:32,540 --> 00:41:35,170 I mean there's no accident that that means what it does. 699 00:41:35,170 --> 00:41:39,212 [STRUMMING INSTRUMENT] 700 00:41:39,212 --> 00:41:40,170 What's that sound like? 701 00:41:40,170 --> 00:41:43,495 [PLAYING INSTRUMENTS] 702 00:41:46,090 --> 00:41:46,590 Good. 703 00:41:46,590 --> 00:41:47,349 So let's do this. 704 00:41:47,349 --> 00:41:49,390 I'm going to put up things-- I think this is fun. 705 00:41:49,390 --> 00:41:51,800 So what I want to do is-- like you've been doing-- play them, 706 00:41:51,800 --> 00:41:53,925 but what I want you to do is play them all together 707 00:41:53,925 --> 00:41:54,880 as a group. 708 00:41:54,880 --> 00:41:56,660 So I'll put it up and then you guys, 709 00:41:56,660 --> 00:41:58,670 I'll give you a little space and then 710 00:41:58,670 --> 00:42:00,294 you guys play it together and stop. 711 00:42:00,294 --> 00:42:01,460 And I'll put another one up. 712 00:42:01,460 --> 00:42:02,918 We'll talk about them a little bit. 713 00:42:02,918 --> 00:42:05,790 Yeah, so crescendo, decrescendo. 714 00:42:05,790 --> 00:42:08,940 We learned that in music it means what it means, 715 00:42:08,940 --> 00:42:12,910 but also graphically it quite obviously means what it means. 716 00:42:12,910 --> 00:42:16,220 And I think in math there's like a greater or lesser thing going 717 00:42:16,220 --> 00:42:17,190 on here, too, right? 718 00:42:17,190 --> 00:42:20,120 Is that the same meaning or a different one? 719 00:42:20,120 --> 00:42:22,240 No? 720 00:42:22,240 --> 00:42:22,942 No? 721 00:42:22,942 --> 00:42:23,900 AUDIENCE: Close enough. 722 00:42:23,900 --> 00:42:25,070 INSTRUCTOR: Close enough? 723 00:42:25,070 --> 00:42:26,195 What does that symbol mean? 724 00:42:26,195 --> 00:42:27,569 AUDIENCE: Everything on the right 725 00:42:27,569 --> 00:42:29,390 is bigger than everything on the left. 726 00:42:29,390 --> 00:42:30,350 INSTRUCTOR: Oh, OK. 727 00:42:30,350 --> 00:42:31,225 AUDIENCE: [INAUDIBLE] 728 00:42:34,850 --> 00:42:36,110 INSTRUCTOR: OK. 729 00:42:36,110 --> 00:42:37,988 Yup. 730 00:42:37,988 --> 00:42:40,237 Yeah, so the volume would be greater on the right than 731 00:42:40,237 --> 00:42:40,910 on the left. 732 00:42:40,910 --> 00:42:41,870 Yeah, so same thing. 733 00:42:41,870 --> 00:42:45,510 Volume is greater here in music than it is here. 734 00:42:45,510 --> 00:42:46,715 Yeah, cool. 735 00:42:46,715 --> 00:42:47,447 All right. 736 00:42:47,447 --> 00:42:50,030 So here we'll just have some fun and play some different ones. 737 00:42:54,557 --> 00:42:56,140 I'll just conduct you to begin and you 738 00:42:56,140 --> 00:42:59,480 can end whenever you feel like it ends. 739 00:42:59,480 --> 00:43:02,875 [MUSIC PLAYING] 740 00:43:10,120 --> 00:43:11,710 That's fun How about this? 741 00:43:11,710 --> 00:43:12,210 Let's see. 742 00:43:19,160 --> 00:43:22,520 [MUSIC PLAYING] 743 00:43:27,800 --> 00:43:28,950 That's fun. 744 00:43:28,950 --> 00:43:31,840 I've never done this before. 745 00:43:31,840 --> 00:43:33,070 Let's see, let's see. 746 00:43:33,070 --> 00:43:35,212 How about this. 747 00:43:35,212 --> 00:43:36,545 What would you do if I did this? 748 00:43:41,354 --> 00:43:44,410 [MUSIC PLAYING] 749 00:44:04,850 --> 00:44:05,350 Cool. 750 00:44:05,350 --> 00:44:06,766 I figured I had to do that or else 751 00:44:06,766 --> 00:44:08,747 you'd just keep going and going. 752 00:44:08,747 --> 00:44:09,580 It would never stop. 753 00:44:12,460 --> 00:44:14,569 All right, let's see. 754 00:44:14,569 --> 00:44:15,985 All right, we're going to do this. 755 00:44:28,890 --> 00:44:29,390 Ready? 756 00:44:32,890 --> 00:44:36,390 [MUSIC PLAYING] 757 00:44:46,890 --> 00:44:47,890 INSTRUCTOR: Good. 758 00:44:47,890 --> 00:44:48,480 All right, so we're going to-- I'm 759 00:44:48,480 --> 00:44:50,610 going to add-- I think that we could play with this 760 00:44:50,610 --> 00:44:54,790 for a little bit and add a couple other elements in here. 761 00:44:54,790 --> 00:45:00,030 So let's play this as if you're each 762 00:45:00,030 --> 00:45:05,730 playing this sequence individually at whatever pace 763 00:45:05,730 --> 00:45:08,120 and whatever timing you want. 764 00:45:08,120 --> 00:45:10,200 OK? 765 00:45:10,200 --> 00:45:12,350 And it ends-- the piece begins whenever 766 00:45:12,350 --> 00:45:13,520 the first person starts. 767 00:45:13,520 --> 00:45:16,482 The piece ends whenever the last person ends. 768 00:45:16,482 --> 00:45:16,982 You ready? 769 00:45:20,950 --> 00:45:24,422 [MUSIC PLAYING] 770 00:45:48,026 --> 00:45:50,550 Great. 771 00:45:50,550 --> 00:45:51,070 Awesome. 772 00:45:51,070 --> 00:45:51,230 Good. 773 00:45:51,230 --> 00:45:53,010 Let's play the same thing, except now I 774 00:45:53,010 --> 00:45:55,045 want you to all move as one. 775 00:45:57,360 --> 00:45:57,860 Ready? 776 00:46:01,450 --> 00:46:04,950 [MUSIC PLAYING] 777 00:46:20,450 --> 00:46:20,985 Good. 778 00:46:20,985 --> 00:46:24,260 Now the interesting thing there, and this is pretty much true 779 00:46:24,260 --> 00:46:26,310 whenever movement is involved is that if you're 780 00:46:26,310 --> 00:46:28,480 trying to fall somebody, or you're 781 00:46:28,480 --> 00:46:30,940 trying to move as a group, the first person 782 00:46:30,940 --> 00:46:32,794 that moves controls the movement. 783 00:46:32,794 --> 00:46:34,210 Because this is-- if you're saying 784 00:46:34,210 --> 00:46:36,600 we're all moving together, then as soon as one person moves, 785 00:46:36,600 --> 00:46:37,724 everybody else has to move. 786 00:46:40,307 --> 00:46:41,140 Here, let's do this. 787 00:46:41,140 --> 00:46:42,223 We'll add another part in. 788 00:46:50,840 --> 00:46:51,920 Let's play that first. 789 00:46:51,920 --> 00:46:54,032 What does that sound like? 790 00:46:54,032 --> 00:46:57,469 [SQUIGGLY INSTRUMENT STRUMMING] 791 00:47:06,820 --> 00:47:09,780 That's so weird that we all have similar reactions 792 00:47:09,780 --> 00:47:11,860 to these things. 793 00:47:11,860 --> 00:47:16,210 OK, so-- I guess not weird, really. 794 00:47:16,210 --> 00:47:17,990 But it's interesting to me. 795 00:47:17,990 --> 00:47:20,350 OK, so let's-- you can choose. 796 00:47:20,350 --> 00:47:23,020 You can choose either to play this part of this part. 797 00:47:23,020 --> 00:47:24,877 So it'll be a two-part thing. 798 00:47:24,877 --> 00:47:26,460 The people that are playing each part, 799 00:47:26,460 --> 00:47:29,437 I want you to play your part together. 800 00:47:29,437 --> 00:47:30,520 So there's two challenges. 801 00:47:30,520 --> 00:47:32,186 One you have to identify the people that 802 00:47:32,186 --> 00:47:36,960 are playing your part and stay with them. 803 00:47:36,960 --> 00:47:38,200 OK. 804 00:47:38,200 --> 00:47:38,700 Ready? 805 00:47:42,186 --> 00:47:46,170 [MUSIC PLAYING] 806 00:48:07,850 --> 00:48:08,870 Cool. 807 00:48:08,870 --> 00:48:11,840 So did you feel like you knew who was playing what? 808 00:48:11,840 --> 00:48:13,281 Yeah. 809 00:48:13,281 --> 00:48:13,780 Yeah. 810 00:48:16,710 --> 00:48:17,590 Who was playing what? 811 00:48:21,127 --> 00:48:22,002 AUDIENCE: [INAUDIBLE] 812 00:48:26,780 --> 00:48:27,892 INSTRUCTOR: Anybody else? 813 00:48:27,892 --> 00:48:29,850 AUDIENCE: I feel like it was kind of estranged. 814 00:48:29,850 --> 00:48:33,000 I feel like if you want to have everyone be on the same page, 815 00:48:33,000 --> 00:48:36,330 then like-- this is at least going through my head. 816 00:48:36,330 --> 00:48:38,070 How are we going to time this? 817 00:48:38,070 --> 00:48:40,880 And then is there a standard way to read from left to right? 818 00:48:40,880 --> 00:48:42,585 Approximately from the time we finished 819 00:48:42,585 --> 00:48:44,710 playing those first two lines, whatever that means, 820 00:48:44,710 --> 00:48:47,260 we kind of start the squiggly thing, whatever that means. 821 00:48:47,260 --> 00:48:49,362 Just because I assumed that everyone else assumed 822 00:48:49,362 --> 00:48:50,570 that assumed that, et cetera. 823 00:48:50,570 --> 00:48:51,776 INSTRUCTOR: Right. 824 00:48:51,776 --> 00:48:53,030 Yeah. 825 00:48:53,030 --> 00:48:57,430 Well let's say-- let's make that more explicit. 826 00:48:57,430 --> 00:48:58,650 Because you're right. 827 00:48:58,650 --> 00:49:00,800 People-- we are used to as a culture moving from 828 00:49:00,800 --> 00:49:04,910 left to right, but in all kinds of reading. 829 00:49:04,910 --> 00:49:08,770 And in music temporally you move from left to right. 830 00:49:08,770 --> 00:49:10,380 It indicates time. 831 00:49:13,870 --> 00:49:17,790 In art, I'm not sure if that's necessarily true since it's 832 00:49:17,790 --> 00:49:20,590 more-- but definitely in music you 833 00:49:20,590 --> 00:49:24,230 tend to think that this is the beginning, that's the end, 834 00:49:24,230 --> 00:49:26,370 and we sort of been playing that way all along. 835 00:49:26,370 --> 00:49:29,090 So let's say specifically this is the beginning. 836 00:49:29,090 --> 00:49:31,490 Actually, let's do repeats. 837 00:49:31,490 --> 00:49:32,390 We'll do it twice. 838 00:49:36,617 --> 00:49:38,450 All right, so we are going to play it twice. 839 00:49:38,450 --> 00:49:39,325 That's the beginning. 840 00:49:39,325 --> 00:49:41,640 That's the end. 841 00:49:41,640 --> 00:49:45,740 So if you choose to do the squigglies-- technical term, 842 00:49:45,740 --> 00:49:47,030 the squigglies. 843 00:49:47,030 --> 00:49:48,660 Remember that. 844 00:49:48,660 --> 00:49:51,290 If you choose to do that, then you're starting like a little 845 00:49:51,290 --> 00:49:52,455 after the third note. 846 00:49:52,455 --> 00:49:53,330 AUDIENCE: [INAUDIBLE] 847 00:49:57,610 --> 00:49:59,370 INSTRUCTOR: No. 848 00:49:59,370 --> 00:49:59,870 No. 849 00:49:59,870 --> 00:50:02,410 It might be more fun if you didn't. 850 00:50:02,410 --> 00:50:03,090 OK, you ready? 851 00:50:03,090 --> 00:50:04,423 You can start whenever you want. 852 00:50:04,423 --> 00:50:08,330 I'm going to stop starting you. 853 00:50:08,330 --> 00:50:11,816 [MUSIC PLAYING] 854 00:51:12,060 --> 00:51:14,000 INSTRUCTOR: Awesome. 855 00:51:14,000 --> 00:51:15,120 That was great. 856 00:51:15,120 --> 00:51:17,800 All right, let's add a third part. 857 00:51:17,800 --> 00:51:19,751 Anybody? 858 00:51:19,751 --> 00:51:21,140 Any volunteers? 859 00:51:21,140 --> 00:51:22,210 Want to add a third part? 860 00:51:30,404 --> 00:51:34,929 [LAUGHTER] 861 00:51:34,929 --> 00:51:35,595 INSTRUCTOR: Ooh. 862 00:51:41,760 --> 00:51:42,430 OK, you ready? 863 00:51:45,050 --> 00:51:47,030 Let's take the repeats off this time, though. 864 00:51:47,030 --> 00:51:49,400 Because I want to do a couple more and we're 865 00:51:49,400 --> 00:51:50,245 running out of time. 866 00:51:53,340 --> 00:51:53,970 OK, you ready? 867 00:51:58,000 --> 00:51:59,718 Whenever. 868 00:51:59,718 --> 00:52:03,204 [MUSIC PLAYING] 869 00:52:33,610 --> 00:52:34,717 INSTRUCTOR: That was cool. 870 00:52:34,717 --> 00:52:36,050 All right, let's do another one. 871 00:52:36,050 --> 00:52:37,260 We got time to do one more. 872 00:52:41,380 --> 00:52:43,120 This is when I feel really teachery where 873 00:52:43,120 --> 00:52:44,120 I have to do blackboard. 874 00:52:52,720 --> 00:52:53,260 All right. 875 00:52:57,220 --> 00:52:58,895 First part-- let's do three parts. 876 00:53:04,950 --> 00:53:06,720 So key here is make them specific. 877 00:53:06,720 --> 00:53:08,120 Make them simple at this point. 878 00:53:08,120 --> 00:53:10,174 Makes it easier. 879 00:53:10,174 --> 00:53:14,000 Haha, did I blow your thing [? there? ?] 880 00:53:14,000 --> 00:53:14,500 No, no. 881 00:53:14,500 --> 00:53:14,999 Go ahead. 882 00:53:14,999 --> 00:53:15,712 Go ahead. 883 00:53:15,712 --> 00:53:16,670 Do what you want to do. 884 00:53:16,670 --> 00:53:18,532 We'll see. 885 00:53:18,532 --> 00:53:19,490 Oh yeah, that's simple. 886 00:53:26,370 --> 00:53:28,526 Or not. 887 00:53:28,526 --> 00:53:29,026 Oh. 888 00:53:34,224 --> 00:53:35,390 It's like that ribbon candy. 889 00:53:39,030 --> 00:53:40,074 Cool. 890 00:53:40,074 --> 00:53:41,490 All right, what's the second part? 891 00:54:15,921 --> 00:54:17,418 INSTRUCTOR: Haha. 892 00:54:17,418 --> 00:54:17,970 Good. 893 00:54:17,970 --> 00:54:21,250 Let's do this one-- let's split into-- let's do it 894 00:54:21,250 --> 00:54:23,080 in two different groups. 895 00:54:23,080 --> 00:54:27,849 Just to make it-- because there's a lot of sound there. 896 00:54:27,849 --> 00:54:29,140 So we'll just split it in half. 897 00:54:29,140 --> 00:54:31,210 One, two, three, four, five. 898 00:54:31,210 --> 00:54:32,930 You guys can split up if you want to. 899 00:54:32,930 --> 00:54:36,240 Would you rather do that or play together? 900 00:54:36,240 --> 00:54:37,680 All right. 901 00:54:37,680 --> 00:54:41,028 Yeah, so you'll be one, one, one, one, one. 902 00:54:41,028 --> 00:54:42,417 AUDIENCE: Can I have one? 903 00:54:42,417 --> 00:54:43,921 INSTRUCTOR: Yeah, sure. 904 00:54:43,921 --> 00:54:44,754 AUDIENCE: All right. 905 00:54:44,754 --> 00:54:45,690 INSTRUCTOR: Yeah. 906 00:54:45,690 --> 00:54:50,409 All right, so you guys go first and then-- 907 00:54:50,409 --> 00:54:51,700 let's see what they sound like. 908 00:54:58,230 --> 00:55:01,490 [MUSIC PLAYING] 909 00:55:35,347 --> 00:55:36,055 INSTRUCTOR: Good. 910 00:55:39,150 --> 00:55:41,030 Now second group, same piece. 911 00:55:44,166 --> 00:55:46,904 [MUSIC PLAYING] 912 00:56:18,520 --> 00:56:19,510 INSTRUCTOR: Cool. 913 00:56:19,510 --> 00:56:21,415 I think that's a good place to stop. 914 00:56:21,415 --> 00:56:22,290 All right, thank you. 915 00:56:22,290 --> 00:56:24,280 So for this week as you're just-- 916 00:56:24,280 --> 00:56:26,622 as you're walking around, pay attention. 917 00:56:26,622 --> 00:56:28,205 Pay attention to the sound of movement 918 00:56:28,205 --> 00:56:33,480 and how they go together in your mind and outside of your mind.