WEBVTT 00:00:00.050 --> 00:00:01.670 The following content is provided 00:00:01.670 --> 00:00:03.820 under a Creative Commons license. 00:00:03.820 --> 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 --> 00:00:12.690 To make a donation or view additional materials 00:00:12.690 --> 00:00:16.609 from hundreds of MIT courses, visit MIT OpenCourseWare 00:00:16.609 --> 00:00:18.730 at ocw.mit.edu. 00:00:28.800 --> 00:00:31.607 PROFESSOR: OK, so let's move into are our topic for the day. 00:00:31.607 --> 00:00:32.940 So we've got a couple of things. 00:00:32.940 --> 00:00:35.750 We're going to talk a little bit about In a Silent Way. 00:00:35.750 --> 00:00:39.530 And then I want to have us have a chance 00:00:39.530 --> 00:00:41.600 to present what you have created. 00:00:41.600 --> 00:00:43.290 And we'll see how this goes. 00:00:43.290 --> 00:00:47.630 So this is pretty much, at least in the second part, unknown. 00:00:47.630 --> 00:00:49.450 We don't know what's going to happen. 00:00:49.450 --> 00:00:51.030 So it should be interesting. 00:00:51.030 --> 00:00:52.560 But in terms of In a Silent Way, did 00:00:52.560 --> 00:00:56.010 everybody get to listen to that? 00:00:56.010 --> 00:01:02.030 And what do you make of that composition, called 00:01:02.030 --> 00:01:04.349 In a Silent Way by Miles Davis? 00:01:04.349 --> 00:01:06.699 What do you make of that? 00:01:06.699 --> 00:01:07.865 What did you hear happening? 00:01:12.478 --> 00:01:16.006 AUDIENCE: It seemed modal, so it didn't have any definite chord 00:01:16.006 --> 00:01:18.730 changes, which I think gave it sort of like a, 00:01:18.730 --> 00:01:20.747 like, spacey ambiguous feel to it. 00:01:20.747 --> 00:01:21.330 PROFESSOR: OK. 00:01:21.330 --> 00:01:21.829 Good. 00:01:21.829 --> 00:01:24.229 Modal, spacey, ambiguous. 00:01:24.229 --> 00:01:24.770 Anybody else? 00:01:27.734 --> 00:01:30.698 AUDIENCE: A lot of the melody and things were also ambiguous. 00:01:30.698 --> 00:01:34.650 There were a few clear themes that would repeat, 00:01:34.650 --> 00:01:38.550 but there was a lot of just sounds. 00:01:38.550 --> 00:01:39.630 That was cool. 00:01:39.630 --> 00:01:42.586 PROFESSOR: Sounds, OK. 00:01:42.586 --> 00:01:45.040 AUDIENCE: The instrumentation was just very different 00:01:45.040 --> 00:01:49.122 from the other Miles Davis pieces we'd listened to, 00:01:49.122 --> 00:01:51.800 and the style and everything, like it being 00:01:51.800 --> 00:01:54.590 so like a slow, laid-back, almost free-flowing piece, 00:01:54.590 --> 00:01:58.372 with a more I guess like electronic feel to it. 00:01:58.372 --> 00:02:00.202 But that was interesting. 00:02:00.202 --> 00:02:00.910 PROFESSOR: Right. 00:02:00.910 --> 00:02:03.130 And because, what were some of the accompanying 00:02:03.130 --> 00:02:04.523 instruments in this? 00:02:04.523 --> 00:02:07.241 AUDIENCE: It sounded maybe like a synth, I want to say. 00:02:07.241 --> 00:02:08.150 Was that a synth? 00:02:08.150 --> 00:02:10.160 PROFESSOR: Fender Rhodes. 00:02:10.160 --> 00:02:11.644 Actually, two Fender Rhodes piano, 00:02:11.644 --> 00:02:12.810 which is sort of old school. 00:02:12.810 --> 00:02:14.140 But you see these around a lot. 00:02:14.140 --> 00:02:16.390 In fact, we have one at MIT, which 00:02:16.390 --> 00:02:18.960 the current pianist with the FJE likes 00:02:18.960 --> 00:02:20.700 to call it out and play it. 00:02:20.700 --> 00:02:21.710 So that's great. 00:02:21.710 --> 00:02:26.590 And somebody playing the organ, as well as that. 00:02:26.590 --> 00:02:27.090 What else? 00:02:27.090 --> 00:02:28.590 What else did you hear, instruments? 00:02:39.436 --> 00:02:41.060 AUDIENCE: How prominent the instruments 00:02:41.060 --> 00:02:47.102 were to one another was more uniform than the recordings 00:02:47.102 --> 00:02:48.510 we've listened to. 00:02:48.510 --> 00:02:49.540 PROFESSOR: Meaning? 00:02:49.540 --> 00:02:53.774 AUDIENCE: Like, it's not like that obviously the trumpet 00:02:53.774 --> 00:02:56.490 had the lead the whole time. 00:02:56.490 --> 00:02:59.050 PROFESSOR: Right. 00:02:59.050 --> 00:03:00.990 So a lot more diversity of who is sort of 00:03:00.990 --> 00:03:02.850 in the lead and that kind of thing. 00:03:02.850 --> 00:03:07.260 Was it only that sort of ambiguous free floating sound? 00:03:13.000 --> 00:03:15.080 Was it only that, are did it do something else? 00:03:23.016 --> 00:03:25.496 AUDIENCE: Well, after a few minutes [INAUDIBLE] 00:03:35.440 --> 00:03:36.890 PROFESSOR: OK, a regular beat. 00:03:36.890 --> 00:03:40.655 And what was the rhythmic feel there? 00:03:40.655 --> 00:03:41.530 AUDIENCE: [INAUDIBLE] 00:03:45.957 --> 00:03:47.790 PROFESSOR: But I mean, was it jazz, was it-- 00:03:51.785 --> 00:03:52.660 AUDIENCE: [INAUDIBLE] 00:04:03.404 --> 00:04:04.320 PROFESSOR: Percussive. 00:04:04.320 --> 00:04:05.380 OK. 00:04:05.380 --> 00:04:07.050 Anybody else have a term that could 00:04:07.050 --> 00:04:09.600 characterize what it went into? 00:04:17.019 --> 00:04:20.154 We all heard the piece, right? 00:04:20.154 --> 00:04:22.490 And it was a fairly long piece, right, 00:04:22.490 --> 00:04:25.130 like about 20 minute piece? 00:04:25.130 --> 00:04:27.757 OK. 00:04:27.757 --> 00:04:29.090 I was sure you would catch this. 00:04:29.090 --> 00:04:32.320 It goes into essentially a rock kind of a feel. 00:04:32.320 --> 00:04:34.282 It's a more subtle rock feel than what 00:04:34.282 --> 00:04:36.490 you would have heard from a rock band in that period. 00:04:36.490 --> 00:04:39.250 But nonetheless, that's what it's going to. 00:04:39.250 --> 00:04:42.160 This became sort of the signature piece 00:04:42.160 --> 00:04:46.540 that moved jazz into what was called jazz rock or fusion. 00:04:46.540 --> 00:04:49.270 In 1969 is when this came out. 00:04:49.270 --> 00:04:51.620 And in fact, this middle part is the longest part 00:04:51.620 --> 00:04:53.170 of the whole piece. 00:04:53.170 --> 00:04:56.230 It's where most of the soloing happens. 00:04:56.230 --> 00:05:00.630 And then it returns to this sort of quieter, more lyrical thing 00:05:00.630 --> 00:05:02.020 at the end. 00:05:02.020 --> 00:05:03.580 And I put these names of the board, 00:05:03.580 --> 00:05:07.050 because it turns out that this is actually 00:05:07.050 --> 00:05:10.900 a piece that was put together in the studio. 00:05:10.900 --> 00:05:13.460 It's a studio realization, you could say. 00:05:13.460 --> 00:05:15.770 And the first part is called In a Silent Way. 00:05:15.770 --> 00:05:18.210 That's composed by Joe Zawinul, who 00:05:18.210 --> 00:05:20.584 was one of the three keyboard players. 00:05:20.584 --> 00:05:22.500 That shows up at the beginning and at the end. 00:05:22.500 --> 00:05:25.000 And in the middle is a piece that both Zawinul and Miles 00:05:25.000 --> 00:05:28.380 Davis co-composed, called It's About That Time, which 00:05:28.380 --> 00:05:31.137 is the more funky, rock type of piece. 00:05:31.137 --> 00:05:36.900 And so they decided to essentially blend these pieces. 00:05:36.900 --> 00:05:38.622 And the further thing about this is 00:05:38.622 --> 00:05:41.450 this was an early attempt by people 00:05:41.450 --> 00:05:44.080 in the studio, one guy in particular, Teo Macero, who 00:05:44.080 --> 00:05:47.917 worked with Miles Davis a lot, to essentially sort 00:05:47.917 --> 00:05:49.750 of you could say cut and paste, because they 00:05:49.750 --> 00:05:52.897 used to have to splice tape to make cuts and paste them 00:05:52.897 --> 00:05:53.480 back together. 00:05:53.480 --> 00:05:55.310 It's before digital editing. 00:05:55.310 --> 00:05:56.990 And so there's some of that that's 00:05:56.990 --> 00:05:58.860 going on in the middle section. 00:05:58.860 --> 00:06:02.470 And in fact, the last section is exactly what 00:06:02.470 --> 00:06:04.310 was played for the first four minutes. 00:06:04.310 --> 00:06:05.390 It's just a replica. 00:06:05.390 --> 00:06:06.390 It's a replication. 00:06:06.390 --> 00:06:10.490 It's the same exact music just pasted in at the end. 00:06:10.490 --> 00:06:14.090 So it sort of calls into a new perspective 00:06:14.090 --> 00:06:18.105 what is improvisation and what is jazz composition, really. 00:06:18.105 --> 00:06:19.480 And you're going to have a chance 00:06:19.480 --> 00:06:21.210 to talk with Neil Leonard when he comes 00:06:21.210 --> 00:06:24.850 in about another month about exactly that, electronic usage, 00:06:24.850 --> 00:06:26.880 computer usage, and improvisation stuff. 00:06:26.880 --> 00:06:29.490 But this is sort of an early attempt. 00:06:29.490 --> 00:06:31.845 The other thing that I wanted us to listen to this for 00:06:31.845 --> 00:06:37.360 is that this basically is a jazz version of the format 00:06:37.360 --> 00:06:41.980 that we're going to hear on Sunday at the Indian concert. 00:06:41.980 --> 00:06:45.090 Because how many people have had the Music of India course? 00:06:45.090 --> 00:06:46.310 Anybody have that course? 00:06:46.310 --> 00:06:47.360 You've had that. 00:06:47.360 --> 00:06:48.400 Anybody else? 00:06:48.400 --> 00:06:51.700 And so you know that the way that the music in the Raga 00:06:51.700 --> 00:06:56.730 tradition works is there's a very slow presentation, as it's 00:06:56.730 --> 00:06:59.610 called, of the raga, the main melody. 00:06:59.610 --> 00:07:02.800 And then after that is allowed to be stated 00:07:02.800 --> 00:07:05.250 in a very lyrical, free floating way, 00:07:05.250 --> 00:07:09.030 then you get this rhythmic sense with a particular cycle 00:07:09.030 --> 00:07:11.370 or a tala that comes in. 00:07:11.370 --> 00:07:16.400 And so it's hard to believe that Miles Davis was not influenced 00:07:16.400 --> 00:07:18.420 by John Coltrane, who had previously 00:07:18.420 --> 00:07:19.824 been part of Miles' band. 00:07:19.824 --> 00:07:21.240 But Coltrane, as many of you know, 00:07:21.240 --> 00:07:24.180 had explored the music of India. 00:07:24.180 --> 00:07:27.210 And so it's sort of like a cross influence 00:07:27.210 --> 00:07:29.490 coming back from what somebody had originally 00:07:29.490 --> 00:07:32.610 been a player in Miles' band coming back to inform him. 00:07:32.610 --> 00:07:37.640 And this piece really has a very Indian at least pattern to it, 00:07:37.640 --> 00:07:39.010 if not Indian music. 00:07:39.010 --> 00:07:43.210 It's not a raga, but it is its own particular mode, 00:07:43.210 --> 00:07:45.330 as people have said. 00:07:45.330 --> 00:07:47.260 Anybody know what mode it was, or did you 00:07:47.260 --> 00:07:48.310 try to figure that out? 00:07:59.068 --> 00:08:02.980 AUDIENCE: Was it, could it be in Dorian? 00:08:02.980 --> 00:08:10.510 Because it began with a flat [INAUDIBLE] 7th, I think. 00:08:10.510 --> 00:08:11.570 PROFESSOR: OK. 00:08:11.570 --> 00:08:15.120 Anybody have a different take on it? 00:08:22.860 --> 00:08:25.415 AUDIENCE: I figured out which notes were in the mode, 00:08:25.415 --> 00:08:27.235 but I don't know if I could remember them. 00:08:27.235 --> 00:08:28.859 I was playing along to it, but I didn't 00:08:28.859 --> 00:08:31.606 think about what the actual mode was. 00:08:31.606 --> 00:08:33.730 PROFESSOR: OK, but you tried to play along with it. 00:08:33.730 --> 00:08:34.055 That's good. 00:08:34.055 --> 00:08:34.680 AUDIENCE: Yeah. 00:08:34.680 --> 00:08:37.820 I feel like I figured out which notes that actually fit. 00:08:37.820 --> 00:08:40.890 AUDIENCE: Anybody remember what was going on at the same time 00:08:40.890 --> 00:08:42.265 that the melody was being played? 00:08:56.026 --> 00:08:57.400 So obviously I'm going to suggest 00:08:57.400 --> 00:09:02.360 you go listen to it again, so we can hear more deeply inside 00:09:02.360 --> 00:09:03.860 of what's going on. 00:09:03.860 --> 00:09:05.860 Let me just come over to the piano for a second. 00:09:05.860 --> 00:09:08.430 I made a brief transcription of this melody. 00:09:08.430 --> 00:09:10.570 And what's going on is-- if I can just 00:09:10.570 --> 00:09:14.550 get over there-- the first thing that we 00:09:14.550 --> 00:09:16.620 have with this is a drone. 00:09:16.620 --> 00:09:20.062 A drone is just a long note underneath the melody. 00:09:20.062 --> 00:09:22.020 And we've done that with some of our exercises, 00:09:22.020 --> 00:09:26.130 right, where we've just had a basic tonal center. 00:09:26.130 --> 00:09:28.700 I didn't call it that, but that's what it is. 00:09:28.700 --> 00:09:29.910 Same thing in Indian music. 00:09:29.910 --> 00:09:33.410 There's a drone established by one of the instruments. 00:09:33.410 --> 00:09:35.260 And then the melody works off that. 00:09:35.260 --> 00:09:37.751 So in this case, it's an E. [PIANO PLAYING] 00:09:37.751 --> 00:09:41.540 So you're always hearing this E, and then it's actually, 00:09:41.540 --> 00:09:42.520 this is the melody. 00:09:42.520 --> 00:09:47.720 [PIANO PLAYING] It starts on the third. 00:09:47.720 --> 00:09:49.609 If you were in E and you had E major chord, 00:09:49.609 --> 00:09:52.150 it's actually the third of the E major chord. [PIANO PLAYING] 00:09:52.150 --> 00:09:53.630 But you never get that chord. 00:09:53.630 --> 00:09:54.480 You just get this. 00:09:54.480 --> 00:09:57.214 [PIANO PLAYING] 00:10:08.310 --> 00:10:10.010 PROFESSOR: And that's a big interval. 00:10:10.010 --> 00:10:11.620 That's a minor seventh jump. 00:10:14.362 --> 00:10:17.230 And here's where you get the tip off of what the mode is. 00:10:17.230 --> 00:10:19.918 [PIANO PLAYING] 00:10:24.850 --> 00:10:29.630 PROFESSOR: And what that is is E to D natural, which 00:10:29.630 --> 00:10:38.750 means that it's E essentially mixolydian, because if you had 00:10:38.750 --> 00:10:45.540 come on that same phrase and gone [PIANO PLAYING] 00:10:45.540 --> 00:10:52.552 it's totally different. [PIANO PLAYING] 00:10:52.552 --> 00:10:54.920 And it winds up on the fifth, which 00:10:54.920 --> 00:10:58.740 is the B, which is again an open sound. 00:10:58.740 --> 00:11:01.670 So except for occasionally getting a major third of what 00:11:01.670 --> 00:11:03.890 might have been the chord, it's really 00:11:03.890 --> 00:11:05.730 ambiguous, which a number of you said. 00:11:05.730 --> 00:11:07.250 Yeah, Jamie, you had a point. 00:11:07.250 --> 00:11:09.084 AUDIENCE: Yeah, it's funny because the piece 00:11:09.084 --> 00:11:11.458 that I wrote, which I wrote after I listened to the song, 00:11:11.458 --> 00:11:12.420 was in E mixolydian. 00:11:12.420 --> 00:11:14.740 So obviously that transferred over. 00:11:14.740 --> 00:11:16.620 PROFESSOR: Deeply influenced by this piece. 00:11:16.620 --> 00:11:17.170 And that's great. 00:11:17.170 --> 00:11:17.885 AUDIENCE: So I knew as soon as you 00:11:17.885 --> 00:11:19.435 played that, that was E mixolydian. 00:11:19.435 --> 00:11:20.310 PROFESSOR: That's OK. 00:11:20.310 --> 00:11:21.850 That's how we learn. 00:11:21.850 --> 00:11:25.470 And that's a great homage to this particular piece. 00:11:25.470 --> 00:11:32.440 So what we've got here, in other words, is a pretty simple mode. 00:11:32.440 --> 00:11:34.170 It's just one. 00:11:34.170 --> 00:11:36.350 And it almost sounds like it's major, 00:11:36.350 --> 00:11:38.890 except for that little trick note that I pointed out. 00:11:38.890 --> 00:11:40.809 But that's a very distinctive note. 00:11:40.809 --> 00:11:42.350 And so when you listen to this again, 00:11:42.350 --> 00:11:44.670 pay attention to that, because it really 00:11:44.670 --> 00:11:47.140 is the thing that sets this piece off 00:11:47.140 --> 00:11:49.020 apart from many others. 00:11:49.020 --> 00:11:50.740 Now the interesting thing about this 00:11:50.740 --> 00:11:54.390 is according to people who have really 00:11:54.390 --> 00:11:55.980 studied this and interviewed people 00:11:55.980 --> 00:12:01.030 who were on the recording session, when Joe Zawinul, who 00:12:01.030 --> 00:12:03.950 wrote this tune, the one we just talked about, when he brought 00:12:03.950 --> 00:12:07.572 this into the recording session, he had chords with it. 00:12:07.572 --> 00:12:10.820 He had chord changes written for it. 00:12:10.820 --> 00:12:14.540 And Miles Davis saw this and said 00:12:14.540 --> 00:12:16.430 to the guitar player, John McLaughlin, 00:12:16.430 --> 00:12:19.600 why don't you just play the melody? 00:12:19.600 --> 00:12:21.505 And it sort of took McLaughlin aback. 00:12:21.505 --> 00:12:23.880 It was like, well, what am I going to do with the chords? 00:12:23.880 --> 00:12:25.010 And the piano player said, what are we 00:12:25.010 --> 00:12:26.176 going to do with the chords? 00:12:26.176 --> 00:12:27.910 He said, don't play them. 00:12:27.910 --> 00:12:32.260 Just-- Dave Holland was the bass player-- just 00:12:32.260 --> 00:12:36.360 put a E pedal underneath all of this, play the melody 00:12:36.360 --> 00:12:38.870 and let that be the whole thing. 00:12:38.870 --> 00:12:42.390 And so according to these people again at the session, 00:12:42.390 --> 00:12:43.960 they did this. 00:12:43.960 --> 00:12:46.080 And no one was sure how it was going to turn out. 00:12:46.080 --> 00:12:47.455 And when they heard the playback, 00:12:47.455 --> 00:12:51.980 they were just astonished, because it made so much sense. 00:12:51.980 --> 00:12:54.870 And this is sort of the next level after Kind of Blue. 00:12:54.870 --> 00:12:57.020 In fact, it was 10 years after Kind of Blue. 00:12:57.020 --> 00:12:59.360 So it's sort of like moving from that, 00:12:59.360 --> 00:13:01.240 building on that direction, incorporating 00:13:01.240 --> 00:13:03.650 some Indian-ish type things with it, 00:13:03.650 --> 00:13:05.360 and coming out with what we have. 00:13:05.360 --> 00:13:08.310 So I really do recommend you listen to this again. 00:13:08.310 --> 00:13:11.310 Try to hear some of these other things that are happening. 00:13:11.310 --> 00:13:15.320 And when you hear the middle section, this other tune, 00:13:15.320 --> 00:13:18.660 it's called It's About That Time, pay attention to this, 00:13:18.660 --> 00:13:20.955 because this now shifts the tonal center up 00:13:20.955 --> 00:13:24.900 a half step to F. Some people say it's mixolydian. 00:13:24.900 --> 00:13:27.270 I hear it as a pentatonic sound. 00:13:27.270 --> 00:13:29.154 So see if you can maybe play along with that. 00:13:29.154 --> 00:13:31.320 That would be a good one to play around and just see 00:13:31.320 --> 00:13:33.240 what you can figure out on the bass-line. 00:13:33.240 --> 00:13:35.480 And that's all it is, is a bass-line, 00:13:35.480 --> 00:13:36.839 with a lot of textures. 00:13:36.839 --> 00:13:38.380 Remember, we've talked about textures 00:13:38.380 --> 00:13:39.370 from the other instruments. 00:13:39.370 --> 00:13:41.578 And this is particularly so with the three keyboards. 00:13:41.578 --> 00:13:45.520 So it's a great piece, and it bears listening to again. 00:13:45.520 --> 00:13:48.360 OK, so the assignment for you guys 00:13:48.360 --> 00:13:52.720 was to come up with a piece that was similarly a long flowing 00:13:52.720 --> 00:13:55.500 melody of between 10 and 15 notes, 00:13:55.500 --> 00:13:59.210 and then figure out a way to present it. 00:13:59.210 --> 00:14:05.600 So who would like to present their piece? 00:14:05.600 --> 00:14:11.340 AUDIENCE: So the melody sort of goes like this. [BANJO PLAYING] 00:14:11.340 --> 00:14:14.930 That's just sort of the thing that we're going to play around 00:14:14.930 --> 00:14:19.875 on, is this. [BANJO PLAYING] And there's 00:14:19.875 --> 00:14:28.780 a second part that will come in occasionally. [BANJO PLAYING] 00:14:28.780 --> 00:14:32.461 Just like that, which is that second part. 00:14:32.461 --> 00:14:32.960 Alright. 00:14:32.960 --> 00:14:34.760 So why don't you, ah-- 00:14:34.760 --> 00:14:36.536 [BANJO PLAYING] 00:14:46.840 --> 00:14:49.816 [SAXOPHONE JOINS BANJO] 00:15:59.640 --> 00:16:01.990 [APPLAUSE] 00:16:01.990 --> 00:16:02.910 PROFESSOR: Very nice. 00:16:02.910 --> 00:16:04.620 Play those opening notes that you 00:16:04.620 --> 00:16:07.266 played when you told us what it was made out of. 00:16:07.266 --> 00:16:11.082 [BANJO PLAYING] 00:16:11.082 --> 00:16:12.540 AUDIENCE: You mean, just like the-- 00:16:12.540 --> 00:16:13.720 PROFESSOR: The little melody notes 00:16:13.720 --> 00:16:15.080 that you would play it around. 00:16:15.080 --> 00:16:17.488 [BANJO PLAYING] 00:16:26.800 --> 00:16:30.420 PROFESSOR: Sarah, what does that sound like? 00:16:30.420 --> 00:16:32.190 What kind of music does that sound like? 00:16:32.190 --> 00:16:33.230 AUDIENCE: It does kind of sound like Indian music. 00:16:33.230 --> 00:16:34.440 PROFESSOR: It sounds like Indian music. 00:16:34.440 --> 00:16:35.884 Have you heard much Indian music? 00:16:35.884 --> 00:16:37.008 AUDIENCE: Oh, yeah, before. 00:16:37.008 --> 00:16:37.920 That's what I thought of. 00:16:37.920 --> 00:16:39.435 PROFESSOR: So it must be going into your consciousness. 00:16:39.435 --> 00:16:41.101 AUDIENCE: Yeah, at one point I was like, 00:16:41.101 --> 00:16:42.450 oh, it sounds a little Indian. 00:16:42.450 --> 00:16:45.580 PROFESSOR: So when you hear the concert on Sunday, 00:16:45.580 --> 00:16:50.090 what you're going to hear is something very similar to that. 00:16:50.090 --> 00:16:53.280 That'll be the presentation of the raga, that sort of idea 00:16:53.280 --> 00:16:54.470 that you just did. 00:16:54.470 --> 00:16:57.470 And in fact, when you got into that rhythmic thing, 00:16:57.470 --> 00:17:01.240 particularly your picking style, as well as piano, 00:17:01.240 --> 00:17:03.830 that would be very similar to what the tabla, the drummer 00:17:03.830 --> 00:17:07.109 would be doing, to give a percussive thing. 00:17:07.109 --> 00:17:08.270 So this is great. 00:17:08.270 --> 00:17:10.290 This is like unconscious processing 00:17:10.290 --> 00:17:11.359 of where we're going. 00:17:11.359 --> 00:17:12.300 So brilliant. 00:17:12.300 --> 00:17:14.859 And very nice playing on the saxophone. 00:17:14.859 --> 00:17:16.980 Very nice. 00:17:16.980 --> 00:17:19.569 You're bringing out what would be called 00:17:19.569 --> 00:17:23.470 the characteristic feature of the mode or if it was a rag, 00:17:23.470 --> 00:17:25.619 there's certain particular things. 00:17:25.619 --> 00:17:28.510 And Phil Scarf when he comes a week from-- well, 00:17:28.510 --> 00:17:29.960 it'll be on next Monday-- he'll be 00:17:29.960 --> 00:17:33.330 talking about that very particular, specific thing. 00:17:33.330 --> 00:17:35.190 So very well done. 00:17:35.190 --> 00:17:36.174 Good job. 00:17:36.174 --> 00:17:36.674 Good job. 00:17:36.674 --> 00:17:37.618 [APPLAUSE] 00:17:37.618 --> 00:17:40.240 PROFESSOR: Who would like to go next? 00:17:40.240 --> 00:17:46.390 AUDIENCE: It goes from D dorian, G mixolydian, C major. 00:17:46.390 --> 00:17:49.080 So piano should be playing chords. 00:17:49.080 --> 00:17:52.730 And then the melody, I was thinking flute and oboe 00:17:52.730 --> 00:17:54.409 could maybe improvise on part of it, 00:17:54.409 --> 00:17:55.700 like when you get to the major? 00:17:58.610 --> 00:17:59.495 That's C major. 00:18:03.401 --> 00:18:03.900 Yeah. 00:18:03.900 --> 00:18:05.960 There's not really time to this. 00:18:05.960 --> 00:18:09.120 So I sort of suggested which notes might be shorter 00:18:09.120 --> 00:18:11.010 and which ones might be longer. 00:18:11.010 --> 00:18:12.960 But take whatever time you want. 00:18:12.960 --> 00:18:15.280 That's why I figured maybe it's not best time 00:18:15.280 --> 00:18:18.620 for lots of people playing at once. 00:18:18.620 --> 00:18:22.745 AUDIENCE: [INAUDIBLE] sort of loop around a couple times? 00:18:22.745 --> 00:18:24.900 AUDIENCE: Yeah, I think once would not be enough. 00:18:24.900 --> 00:18:28.600 So maybe let's do two or three times. 00:18:28.600 --> 00:18:31.450 And I'm going to sit this out, because transposing 00:18:31.450 --> 00:18:34.190 and to keep it quiet. 00:18:34.190 --> 00:18:39.944 So I guess flute and piano, whenever you're ready. 00:18:42.932 --> 00:18:45.882 [PIANO AND FLUTE PLAYING] 00:19:23.564 --> 00:19:26.552 [OBOE ENTERS] 00:20:50.216 --> 00:20:54.340 [APPLAUSE] 00:20:54.340 --> 00:20:57.190 PROFESSOR: So you were playing the actual melody. 00:20:57.190 --> 00:21:00.380 And you were improvising within the mode, or something, 00:21:00.380 --> 00:21:01.660 or around it. 00:21:01.660 --> 00:21:02.375 Very nice. 00:21:02.375 --> 00:21:04.208 AUDIENCE: Liked the percussive improvisation 00:21:04.208 --> 00:21:05.821 at the very beginning. 00:21:05.821 --> 00:21:06.904 AUDIENCE: Oh, yeah, sorry. 00:21:06.904 --> 00:21:09.336 I should have tested a couple of notes. 00:21:09.336 --> 00:21:10.460 PROFESSOR: Very, very nice. 00:21:10.460 --> 00:21:11.970 Very nice. 00:21:11.970 --> 00:21:13.684 Cool. 00:21:13.684 --> 00:21:15.350 AUDIENCE: I've got a simple melody which 00:21:15.350 --> 00:21:20.160 I'd like again to be played by the flute. 00:21:20.160 --> 00:21:22.700 Just sort of loop it around. 00:21:22.700 --> 00:21:27.950 I didn't explicitly say what notes were longer than others. 00:21:27.950 --> 00:21:32.790 But in the middle there I've got these three notes 00:21:32.790 --> 00:21:35.822 which I kind of wanted everyone to get in on, specifically. 00:21:35.822 --> 00:21:37.280 AUDIENCE: Those notes specifically, 00:21:37.280 --> 00:21:39.426 like those exact notes? 00:21:39.426 --> 00:21:41.300 AUDIENCE: Oh, yeah, specifically those notes. 00:21:41.300 --> 00:21:44.530 So everyone play like in unison, or as you 00:21:44.530 --> 00:21:50.520 get further along, yeah. 00:21:50.520 --> 00:21:54.026 AUDIENCE: So we should all play the whole time, 00:21:54.026 --> 00:21:56.150 but those three notes, we play the notes in unison? 00:21:56.150 --> 00:21:58.530 AUDIENCE: Everyone's playing the whole time. 00:21:58.530 --> 00:22:00.770 Maybe at the start, actually, the first time through, 00:22:00.770 --> 00:22:02.014 just the piano. 00:22:02.014 --> 00:22:04.230 And then when you loop around, then you guys come in. 00:22:04.230 --> 00:22:08.230 And for you guys, so it's E Phrygian. 00:22:08.230 --> 00:22:10.390 Stick with the E most of the time, 00:22:10.390 --> 00:22:15.599 but also at least at the start bring in the A and the B, 00:22:15.599 --> 00:22:16.140 specifically. 00:22:16.140 --> 00:22:18.310 And it's not [INAUDIBLE]. 00:22:22.346 --> 00:22:24.520 AUDIENCE: Can we play the mode all the time, too? 00:22:28.360 --> 00:22:32.200 It's just one at a time? 00:22:32.200 --> 00:22:35.100 Do you know? 00:22:35.100 --> 00:22:37.375 AUDIENCE: It's just all the white notes, from E to E. 00:22:37.375 --> 00:22:40.112 [INSTRUMENTS WARMING UP] 00:22:45.072 --> 00:22:48.048 [FLUTE AND PIANO PLAYING] 00:22:58.464 --> 00:23:01.440 [TRUMPET AND BANJO ENTER] 00:24:13.248 --> 00:24:16.535 [APPLAUSE] 00:24:16.535 --> 00:24:17.410 PROFESSOR: Very nice. 00:24:17.410 --> 00:24:19.549 And so was this one mode or two modes? 00:24:19.549 --> 00:24:21.840 AUDIENCE: No, that's just one mode, just the E Phrygian 00:24:21.840 --> 00:24:22.250 throughout. 00:24:22.250 --> 00:24:23.291 PROFESSOR: Just one mode. 00:24:23.291 --> 00:24:23.815 Very nice. 00:24:23.815 --> 00:24:24.315 Very nice. 00:24:24.315 --> 00:24:27.890 And was your part prescribed, or were you improvising? 00:24:27.890 --> 00:24:29.575 AUDIENCE: So there were three notes sort 00:24:29.575 --> 00:24:30.616 of in the middle of that. 00:24:30.616 --> 00:24:35.280 The do do do do do, do do do do do do do. 00:24:35.280 --> 00:24:37.820 I guess I'm not quite singing it in key But, yeah. 00:24:37.820 --> 00:24:39.700 So there were three notes where every time it 00:24:39.700 --> 00:24:41.670 was prescribed, other than that, improvising. 00:24:41.670 --> 00:24:42.610 PROFESSOR: OK, good. 00:24:42.610 --> 00:24:44.990 And the same for you other folks? 00:24:44.990 --> 00:24:45.560 Very nice. 00:24:45.560 --> 00:24:46.060 Very nice. 00:24:46.060 --> 00:24:47.005 But you were playing the melody. 00:24:47.005 --> 00:24:48.676 AUDIENCE: I had the melody, yeah. 00:24:48.676 --> 00:24:49.550 PROFESSOR: Very nice. 00:24:49.550 --> 00:24:50.050 Good. 00:24:50.050 --> 00:24:51.964 Good, good. 00:24:51.964 --> 00:24:54.201 [VIOLIN AND GUITAR PLAYING] 00:26:31.053 --> 00:26:33.041 [APPLAUSE] 00:26:33.041 --> 00:26:34.150 PROFESSOR: Very nice. 00:26:34.150 --> 00:26:37.210 So you actually had chords written down, chords symboled, 00:26:37.210 --> 00:26:38.750 which is an interesting way to go. 00:26:38.750 --> 00:26:41.020 We haven't had that yet today, I don't think. 00:26:41.020 --> 00:26:42.923 We might have, did you have chords in yours? 00:26:42.923 --> 00:26:43.724 AUDIENCE: Yeah. 00:26:43.724 --> 00:26:45.890 PROFESSOR: Because I was going to write that on top. 00:26:45.890 --> 00:26:47.610 I did want to mention some on that. 00:26:47.610 --> 00:26:49.847 So that's an interesting way to think about it. 00:26:49.847 --> 00:26:51.430 And we can explore this a little more. 00:26:51.430 --> 00:26:52.590 I don't want to take time now. 00:26:52.590 --> 00:26:54.590 But that's an interesting way to think about it. 00:26:54.590 --> 00:26:56.040 It's another facet. 00:26:56.040 --> 00:26:57.620 Just try this. 00:26:57.620 --> 00:27:00.880 Take those first five notes, and play them 00:27:00.880 --> 00:27:04.170 a little more like a rhythmical idea, like this. 00:27:04.170 --> 00:27:06.030 Bop, ba bo be bop. 00:27:06.030 --> 00:27:08.600 [VIOLIN AND GUITAR PLAYING] 00:27:08.600 --> 00:27:09.930 And then the next one. 00:27:09.930 --> 00:27:12.680 [VIOLIN AND GUITAR PLAYING] And then the next five, same way. 00:27:12.680 --> 00:27:15.092 Bop, ba doo be doo. 00:27:15.092 --> 00:27:18.736 [VIOLIN AND GUITAR PLAYING] And the next, bop, ba da be dop. 00:27:18.736 --> 00:27:20.830 [VIOLIN AND GUITAR PLAYING] Yeah, 00:27:20.830 --> 00:27:23.260 just do that do that over and over again. 00:27:23.260 --> 00:27:27.982 And Alex, play those same chords, but in time now. 00:27:27.982 --> 00:27:29.940 So I'm going to count this off. [CLAPPING] One, 00:27:29.940 --> 00:27:32.440 two, one, two, three, four. 00:27:32.440 --> 00:27:35.296 [CLAPPING AND INSTRUMENTS PLAYING] 00:27:43.670 --> 00:27:44.170 OK. 00:27:44.170 --> 00:27:46.461 I'm just showing that because this would be another way 00:27:46.461 --> 00:27:48.380 to make a variation of what you'd done. 00:27:48.380 --> 00:27:50.000 In other words, similar to Silent Way, 00:27:50.000 --> 00:27:52.770 you've got your lyrical thing up front. 00:27:52.770 --> 00:27:56.260 And then you could turn it into a rhythmical gesture, 00:27:56.260 --> 00:27:56.760 let's say. 00:27:56.760 --> 00:27:58.810 And if you had yet a third instrument, 00:27:58.810 --> 00:28:00.870 you guys could be essentially the rhythm section, 00:28:00.870 --> 00:28:02.910 and somebody else, oboe, whatever, flute, 00:28:02.910 --> 00:28:04.590 could take a solo on top of that. 00:28:04.590 --> 00:28:07.270 It's just another thing to think about in terms of extension. 00:28:07.270 --> 00:28:07.870 Very nice. 00:28:07.870 --> 00:28:09.938 Very nice. 00:28:09.938 --> 00:28:13.410 [FLUTE PLAYING] 00:28:19.858 --> 00:28:22.834 [GUITAR ENTERS] 00:29:32.647 --> 00:29:34.126 [APPLAUSE] 00:29:34.126 --> 00:29:36.170 PROFESSOR: Now, did you have a written part? 00:29:36.170 --> 00:29:36.850 AUDIENCE: No. 00:29:36.850 --> 00:29:38.470 PROFESSOR: You were just making something up. 00:29:38.470 --> 00:29:39.000 AUDIENCE: I was making that up. 00:29:39.000 --> 00:29:39.690 PROFESSOR: You were improvising. 00:29:39.690 --> 00:29:41.273 In other words, you were playing this. 00:29:44.860 --> 00:29:46.796 So you had a rhythmical scheme, but you 00:29:46.796 --> 00:29:47.920 didn't put a meter with it. 00:29:47.920 --> 00:29:49.510 So it wasn't like 4 4 or 6. 00:29:49.510 --> 00:29:50.550 That was very nice. 00:29:50.550 --> 00:29:52.366 Very nice. 00:29:52.366 --> 00:29:54.740 I was figuring you'd keep going until one of you dropped, 00:29:54.740 --> 00:29:56.120 mainly you, because you have to keep breathing. 00:29:56.120 --> 00:29:57.230 But that was really nice. 00:29:57.230 --> 00:29:57.980 That was really nice. 00:29:57.980 --> 00:29:59.740 We could've gotten everybody involved in that. 00:29:59.740 --> 00:30:00.980 That would have taken up about an hour. 00:30:00.980 --> 00:30:01.670 That would have been great. 00:30:01.670 --> 00:30:02.980 So just something to remember. 00:30:02.980 --> 00:30:06.889 If you get hired for a job sometime 00:30:06.889 --> 00:30:08.680 and you run out of material, you can always 00:30:08.680 --> 00:30:10.436 do something like this. 00:30:10.436 --> 00:30:13.425 You can fill up easily 5 minutes, 30 minutes, 00:30:13.425 --> 00:30:14.220 and you're golden. 00:30:14.220 --> 00:30:17.300 So if you run out of your set list, just a practical tip. 00:30:17.300 --> 00:30:17.820 Very nice. 00:30:17.820 --> 00:30:20.430 So if you want to put your name on that and let me have that. 00:30:20.430 --> 00:30:23.390 So I guess you guys have to run. 00:30:23.390 --> 00:30:25.210 While they're leaving and the next person 00:30:25.210 --> 00:30:26.710 decides who wants to be, I just want 00:30:26.710 --> 00:30:30.040 to say a thing about chords. 00:30:30.040 --> 00:30:31.707 And I know, Jacob, this is your piece. 00:30:31.707 --> 00:30:33.040 So I don't want to say anything. 00:30:33.040 --> 00:30:34.770 But you had said D Dorian, you also 00:30:34.770 --> 00:30:38.400 put D minor, D minor chord, to indicate 00:30:38.400 --> 00:30:40.740 you wanted a D minor chord. 00:30:40.740 --> 00:30:41.420 And that's fine. 00:30:41.420 --> 00:30:42.520 That's perfectly fine. 00:30:42.520 --> 00:30:47.590 Sometimes-- and you see this on the lead sheet for So What, 00:30:47.590 --> 00:30:49.750 which we looked at, and we've studied it-- 00:30:49.750 --> 00:30:52.790 it'll say D Dorian D minor 7. 00:30:52.790 --> 00:30:56.100 It's a shorthand for saying that's a chord that 00:30:56.100 --> 00:30:58.200 works with the D Dorian scale. 00:30:58.200 --> 00:31:01.400 But in fact, it's often not so good to use this. 00:31:01.400 --> 00:31:03.552 It's much better just to put the mode, 00:31:03.552 --> 00:31:06.010 because if you do that, then the piano player's immediately 00:31:06.010 --> 00:31:09.060 going to think, let me play that four note 00:31:09.060 --> 00:31:12.300 chord, which is triads. 00:31:12.300 --> 00:31:14.330 And triads, remember, is not the sound 00:31:14.330 --> 00:31:15.770 that we typically want with modal. 00:31:15.770 --> 00:31:19.750 We want a quartal, like a fourth base thing. 00:31:19.750 --> 00:31:22.710 So when people do this and they put that down there, 00:31:22.710 --> 00:31:26.291 sometimes you're sort of snapped into that other way 00:31:26.291 --> 00:31:26.790 of thinking. 00:31:26.790 --> 00:31:27.850 It's not that it's wrong. 00:31:27.850 --> 00:31:33.310 It's just not quite into the idiom 00:31:33.310 --> 00:31:35.400 of what we're trying to do with modal stuff. 00:31:35.400 --> 00:31:36.610 So OK. 00:31:36.610 --> 00:31:37.260 Thank you all. 00:31:37.260 --> 00:31:38.797 So who would like to go next? 00:31:38.797 --> 00:31:41.088 AUDIENCE: I guess we can start with a saxophone melody. 00:31:41.088 --> 00:31:44.560 There's like a vague rhythm, but you can definitely 00:31:44.560 --> 00:31:49.520 change that, especially after the first run-through. 00:31:49.520 --> 00:31:52.335 Electric guitar, you'd start out just 00:31:52.335 --> 00:31:54.562 like emphasizing the D and any other notes basically 00:31:54.562 --> 00:31:56.790 you feel like, and then you can basically 00:31:56.790 --> 00:32:00.255 transition to the melody yourself 00:32:00.255 --> 00:32:02.730 whenever you feel like it. 00:32:02.730 --> 00:32:05.700 And feel free to change up the notes [INAUDIBLE]. 00:32:17.842 --> 00:32:20.720 [SAXOPHONE PLAYING] 00:32:33.898 --> 00:32:36.862 [ELECTRIC GUITAR ENTERS] 00:34:03.385 --> 00:34:07.573 [APPLAUSE] 00:34:07.573 --> 00:34:08.989 PROFESSOR: So that again, that was 00:34:08.989 --> 00:34:12.130 like, what, a single melody and that's all. 00:34:12.130 --> 00:34:15.260 Just some verbal instructions to-- Very good. 00:34:15.260 --> 00:34:16.159 Very nice. 00:34:16.159 --> 00:34:18.440 Very nicely played. 00:34:18.440 --> 00:34:20.040 OK let's keep moving along. 00:34:20.040 --> 00:34:23.130 And I want to urge us, if we could 00:34:23.130 --> 00:34:25.232 make the presentation just a little bit shorter, 00:34:25.232 --> 00:34:26.940 just to make sure everybody gets a chance 00:34:26.940 --> 00:34:28.090 to have their thing heard. 00:34:28.090 --> 00:34:31.090 So who would like to go next? 00:34:31.090 --> 00:34:31.840 AUDIENCE: Alright. 00:34:31.840 --> 00:34:36.670 So this for a flute and a piano. 00:34:36.670 --> 00:34:38.164 So it's Dorian. 00:34:38.164 --> 00:34:39.909 And it's just a basic melody. 00:34:39.909 --> 00:34:41.880 So what I wanted was like the flute 00:34:41.880 --> 00:34:44.389 to just like start the melody and just keep 00:34:44.389 --> 00:34:45.590 looping back through it. 00:34:45.590 --> 00:34:46.940 And it has a rhythm. 00:34:46.940 --> 00:34:49.540 And then I wanted the piano to just, I guess, 00:34:49.540 --> 00:34:51.559 add their own improvisation to it. 00:34:54.791 --> 00:34:57.391 [FLUTE PLAYING] 00:35:00.849 --> 00:35:03.813 [PIANO ENTERS] 00:35:37.382 --> 00:35:41.846 [APPLAUSE] 00:35:41.846 --> 00:35:42.860 PROFESSOR: Very nice. 00:35:42.860 --> 00:35:43.985 Piano, what were you doing? 00:35:43.985 --> 00:35:46.290 Were you leading off what that was? 00:35:46.290 --> 00:35:48.091 Were you reading off that melody? 00:35:48.091 --> 00:35:49.715 AUDIENCE: Yeah, so I was trying to sort 00:35:49.715 --> 00:35:53.220 of align the rhythms, playing mostly the fourths. 00:35:53.220 --> 00:35:54.990 PROFESSOR: So you were making that up, 00:35:54.990 --> 00:35:58.148 the fourth idea, but you were following that. 00:35:58.148 --> 00:36:00.306 AUDIENCE: Yeah, I didn't play any of melody. 00:36:00.306 --> 00:36:03.232 I was just sort of trying to match it. 00:36:03.232 --> 00:36:05.690 PROFESSOR: Who did that sound like to you, or anybody else? 00:36:05.690 --> 00:36:07.939 What did that sound like, that piano and flute playing 00:36:07.939 --> 00:36:09.320 together? 00:36:09.320 --> 00:36:10.730 AUDIENCE: Rite of Spring. 00:36:10.730 --> 00:36:12.190 PROFESSOR: Little bit, little bit. 00:36:12.190 --> 00:36:16.000 Anybody else, classical, any other classical? 00:36:16.000 --> 00:36:18.560 Sounded very much like a Ravel to me. 00:36:18.560 --> 00:36:22.995 And in the Kind of Blue situation, 00:36:22.995 --> 00:36:25.370 I don't know if you've read the pages that were up there. 00:36:25.370 --> 00:36:28.390 I don't know if this was in those pages I put on Stellar. 00:36:28.390 --> 00:36:30.370 It talked about how both Bill Evans and Miles 00:36:30.370 --> 00:36:32.215 Davis adored Ravel. 00:36:32.215 --> 00:36:33.840 And that in fact, when they would 00:36:33.840 --> 00:36:35.680 listen to music in their own apartments, 00:36:35.680 --> 00:36:37.360 that's who they often would listen to. 00:36:37.360 --> 00:36:39.175 Interesting for a jazz person. 00:36:39.175 --> 00:36:42.350 And that that was very definitely in Bill Evans' mind. 00:36:42.350 --> 00:36:44.930 So you're channeling this. 00:36:44.930 --> 00:36:45.770 So this is great. 00:36:45.770 --> 00:36:47.110 It was beautiful. 00:36:47.110 --> 00:36:48.330 Beautiful flute playing. 00:36:48.330 --> 00:36:49.350 Very, very nice idea. 00:36:49.350 --> 00:36:51.980 Really nice idea. 00:36:51.980 --> 00:36:52.480 Wonderful. 00:36:52.480 --> 00:36:54.980 And I'm getting a kick out of the fact that most of you guys 00:36:54.980 --> 00:36:56.460 are not playing on your own piece. 00:36:56.460 --> 00:36:57.460 That's very interesting. 00:36:57.460 --> 00:36:59.168 Because you want to hear what's going on. 00:36:59.168 --> 00:37:00.000 I understand that. 00:37:00.000 --> 00:37:03.115 AUDIENCE: So basically I would like the guitar 00:37:03.115 --> 00:37:05.860 to start off playing the melody and kind of set 00:37:05.860 --> 00:37:07.840 up a cycle of some sort. 00:37:07.840 --> 00:37:16.690 And then I'd like Sarah to improvise over his melody, 00:37:16.690 --> 00:37:19.710 but starting with notes beginning from right to left, 00:37:19.710 --> 00:37:20.480 if that's OK. 00:37:24.127 --> 00:37:25.069 I hope it works. 00:37:25.069 --> 00:37:26.490 I'm not exactly sure yet. 00:37:26.490 --> 00:37:29.080 And then I would like you to play, I guess, 00:37:29.080 --> 00:37:32.450 whatever cycle he sets up if you could just play chords 00:37:32.450 --> 00:37:38.448 under it, but I guess I'd like half to be your own, yeah. 00:37:43.388 --> 00:37:46.352 [GUITAR PLAYING] 00:37:54.870 --> 00:37:58.300 [FLUTE AND PIANO ENTER] 00:38:52.435 --> 00:38:54.415 [APPLAUSE] 00:38:54.415 --> 00:38:56.522 PROFESSOR: Very nice. 00:38:56.522 --> 00:38:57.980 And again, you didn't sing on this. 00:38:57.980 --> 00:38:58.980 That's very interesting. 00:38:58.980 --> 00:39:00.316 I was sure you were going to. 00:39:00.316 --> 00:39:01.024 AUDIENCE: Oh, no. 00:39:01.024 --> 00:39:02.180 That's fine. 00:39:02.180 --> 00:39:03.430 PROFESSOR: That was very nice. 00:39:03.430 --> 00:39:04.971 And actually I think it's interesting 00:39:04.971 --> 00:39:08.280 how these are just emerging, just 00:39:08.280 --> 00:39:11.200 by the way people are volunteering. 00:39:11.200 --> 00:39:14.390 But this sort of could be a perfect complement 00:39:14.390 --> 00:39:16.005 to what your piece was. 00:39:16.005 --> 00:39:17.380 I mean it would make sense to me. 00:39:19.977 --> 00:39:21.560 And some of the rhythmical people, you 00:39:21.560 --> 00:39:23.555 were clearly on a similar wave. 00:39:23.555 --> 00:39:26.800 AUDIENCE: So sax is going to play the melody, 00:39:26.800 --> 00:39:28.430 and the rest of us will just play 00:39:28.430 --> 00:39:31.321 like soft chords in D Dorian. 00:39:31.321 --> 00:39:32.880 I wrote out a pretty specific rhythm, 00:39:32.880 --> 00:39:35.965 but you can take whatever liberty you want. 00:39:35.965 --> 00:39:37.009 AUDIENCE: What is this? 00:39:37.009 --> 00:39:39.050 AUDIENCE: This is just the transposition of that. 00:39:39.050 --> 00:39:39.870 AUDIENCE: That makes sense, OK. 00:39:39.870 --> 00:39:41.286 AUDIENCE: So it should be D minor. 00:39:45.340 --> 00:39:48.081 [INSTRUMENTS PLAYING] 00:41:02.134 --> 00:41:04.619 [APPLAUSE] 00:41:04.619 --> 00:41:07.396 PROFESSOR: Very nice, very nice. 00:41:07.396 --> 00:41:10.701 I feel we're in the realm of French impressionistic music, 00:41:10.701 --> 00:41:11.200 here. 00:41:11.200 --> 00:41:12.946 This is lovely. 00:41:12.946 --> 00:41:14.482 Very peaceful. 00:41:14.482 --> 00:41:16.582 Did that work like you thought it would, 00:41:16.582 --> 00:41:17.790 except for the transposition? 00:41:17.790 --> 00:41:18.650 AUDIENCE: Pretty much, yeah. 00:41:18.650 --> 00:41:19.650 Just in a different key. 00:41:19.650 --> 00:41:21.760 There was one note that was, I don't know. 00:41:21.760 --> 00:41:22.485 This one. 00:41:22.485 --> 00:41:25.515 I don't know what happened to that, but. 00:41:25.515 --> 00:41:26.140 AUDIENCE: Yeah. 00:41:26.140 --> 00:41:31.210 So where I was doing B Dorian on the sax, that 00:41:31.210 --> 00:41:33.580 should have been a G sharp, I think, 00:41:33.580 --> 00:41:36.200 so I just made that change. 00:41:36.200 --> 00:41:38.330 But yeah, it did sound kind of weird. 00:41:38.330 --> 00:41:40.915 AUDIENCE: But the general was basically what I was going for. 00:41:40.915 --> 00:41:41.790 PROFESSOR: Very nice. 00:41:41.790 --> 00:41:42.289 Very nice. 00:41:42.289 --> 00:41:44.166 OK, who wants to go next? 00:41:44.166 --> 00:41:47.440 Of our remaining contestants. 00:41:47.440 --> 00:41:50.440 [PIANO PLAYING] 00:41:56.870 --> 00:41:59.870 [FLUTE AND OBOE ENTER] 00:42:54.870 --> 00:42:56.870 [APPLAUSE] 00:42:56.870 --> 00:42:57.870 PROFESSOR: Really nice. 00:42:57.870 --> 00:42:59.730 So if I got from your instructions, 00:42:59.730 --> 00:43:02.825 sort of like intertwining or interlocking segments, 00:43:02.825 --> 00:43:04.100 is that the idea? 00:43:04.100 --> 00:43:06.660 AUDIENCE: Yeah, that was kind of again that train wreck. 00:43:06.660 --> 00:43:09.350 I think I need to fix my reed up. 00:43:09.350 --> 00:43:10.800 But that's sounded really nice. 00:43:10.800 --> 00:43:12.664 And I expected it, and it was cool. 00:43:12.664 --> 00:43:13.330 PROFESSOR: Yeah. 00:43:13.330 --> 00:43:14.370 Really, really nice. 00:43:14.370 --> 00:43:15.820 Very well done. 00:43:15.820 --> 00:43:18.820 [PIANO PLAYING] 00:43:25.284 --> 00:43:28.756 [TRUMPET ENTERS] 00:43:34.708 --> 00:43:37.684 [SAXOPHONE ENTERS] 00:44:25.915 --> 00:44:26.415 [APPLAUSE] 00:44:26.415 --> 00:44:28.970 AUDIENCE: Very nice, very nice. 00:44:28.970 --> 00:44:30.120 Cool. 00:44:30.120 --> 00:44:31.149 Cool. 00:44:31.149 --> 00:44:32.940 AUDIENCE: So I don't have anything written. 00:44:32.940 --> 00:44:35.273 I'm just going, I guess, for more of an open conception. 00:44:35.273 --> 00:44:39.240 But I was thinking just me and piano, if that's good. 00:44:39.240 --> 00:44:43.180 So I was thinking in D Dorian. 00:44:43.180 --> 00:44:48.370 So the only real, like, solid concept, I have, 00:44:48.370 --> 00:44:53.115 like, something of a melody. 00:44:53.115 --> 00:44:56.085 [SAXOPHONE PLAYING] 00:45:03.410 --> 00:45:05.440 AUDIENCE: So I guess I was thinking 00:45:05.440 --> 00:45:08.100 I would just kind of riff off of that. 00:45:08.100 --> 00:45:11.250 And I wanted it to have kind of like a minor sound, I guess. 00:45:11.250 --> 00:45:14.394 So I don't know, I guess you kind of do 00:45:14.394 --> 00:45:15.310 what you want with it. 00:45:15.310 --> 00:45:19.100 AUDIENCE: Do you want like a beat, or just sort of chords? 00:45:19.100 --> 00:45:21.030 AUDIENCE: I mean, I guess more of chords. 00:45:21.030 --> 00:45:21.530 Yeah. 00:45:24.920 --> 00:45:27.600 So I guess you can start it off. 00:45:30.588 --> 00:45:33.576 [PIANO PLAYING] 00:45:39.054 --> 00:45:42.540 [SAXOPHONE ENTERS] 00:47:06.000 --> 00:47:08.147 [APPLAUSE] 00:47:08.147 --> 00:47:09.480 PROFESSOR: Very nice, very nice. 00:47:09.480 --> 00:47:12.430 And I was waiting for someone to do this, not 00:47:12.430 --> 00:47:13.597 have anything written down. 00:47:13.597 --> 00:47:14.222 AUDIENCE: Yeah. 00:47:14.222 --> 00:47:15.160 I can get something to you next week. 00:47:15.160 --> 00:47:16.520 PROFESSOR: No, no no. 00:47:16.520 --> 00:47:19.410 But I was waiting for that, because that's often 00:47:19.410 --> 00:47:23.490 how our improvisational conceptions generate. 00:47:23.490 --> 00:47:25.590 I mean, I ask you to come up with something. 00:47:25.590 --> 00:47:27.900 But I don't think I said write it down. 00:47:27.900 --> 00:47:29.490 I said come up with something. 00:47:29.490 --> 00:47:32.080 And writing it down is perfectly fine. 00:47:32.080 --> 00:47:35.700 And yours was almost all hand written with a couple notes. 00:47:35.700 --> 00:47:37.510 Other people had just the notes. 00:47:37.510 --> 00:47:39.190 Other people had some notes and chords. 00:47:39.190 --> 00:47:41.090 Any of these are fine. 00:47:41.090 --> 00:47:44.000 But they just give us a generative point 00:47:44.000 --> 00:47:44.900 from which the work. 00:47:44.900 --> 00:47:45.733 So it was very cool. 00:47:45.733 --> 00:47:49.370 And obviously, what happened in each of these instances 00:47:49.370 --> 00:47:52.150 was way more than what you had on paper. 00:47:52.150 --> 00:47:52.980 That's the idea. 00:47:52.980 --> 00:47:55.926 In other words, these are wonderful. 00:47:55.926 --> 00:47:57.550 And if you didn't give me one of these, 00:47:57.550 --> 00:48:01.280 and you had it as a written out form, I need to see that. 00:48:01.280 --> 00:48:04.850 But the point is what happened in the room is the music. 00:48:04.850 --> 00:48:06.119 That's the music. 00:48:06.119 --> 00:48:07.410 These were all starting points. 00:48:07.410 --> 00:48:08.576 These were all springboards. 00:48:08.576 --> 00:48:10.930 So you're all doing wonderfully. 00:48:10.930 --> 00:48:13.270 So give yourselves a round of applause, really. 00:48:13.270 --> 00:48:13.380 Really nice. 00:48:13.380 --> 00:48:13.879 Really nice. 00:48:13.879 --> 00:48:15.645 [APPLAUSE] 00:48:15.645 --> 00:48:19.050 PROFESSOR: So that's it.