 Okay, ladies and gentlemen, good morning. I think things are going to work better today. I'm optimistic about the audio equipment and about our slide material and things such as that. All cell phones off, and we will begin. Don't forget, sections start tonight at 7 o'clock, and there's another set at 8 o'clock, and then Friday afternoon at 1.30 and Monday morning. You've got that all online for you. You do your work product, and you bring it to sections, and hand it into your TA in section each time. So that's the way this works. I'll be sending you a global email, bringing you up to date with some other things later on this afternoon. Okay, so today we actually, before I get to any questions from you, is there stuff to do for section tonight? Yes, but only the stuff that was assigned, the listing exercises that were assigned early on. It's just one, nine through eleven. Which you've probably had done for days now. So you just bring that material, hand it in. Others will be assigned tonight. This is a shopping period. We're starting, sifting through things, and then we'll get rolling. Gentlemen here. Can I turn on my microphone? Very good idea. As a matter of fact, I think I'm actually missing a microphone, and it was not put on here. So what do I do with this? So gentlemen, you will have to come and do this as you would like to have it done. Okay. Okay, here we go. Sorry. Today we're going to come to what I would call the nitty-ritty of the course. We're no longer having introductory material, but we're going to jump into the question of musical notation. And we're going to be dealing with things such as half notes, quarter notes, things like that. But before we do this, I'd like to say a couple of words about musical notation, because it sort of affects how we deal with music, how we treat music. It seems to me that there's a very large reverberation in here now. Is that the case? Does it sound like it's reverberating to you? No, it sounds okay to you. All right. Musical notation is a particularly Western phenomenon. When you stop and think about it, only we in the West, and by West what I mean in the United States and Canada and Western Europe and Russia, parts of South America, only we use musical notation and we use it principally for our high-art music. That's not to say that the Chinese don't have an esoteric form of musical notation, that the Indians do not have an esoteric form of musical notation. They do. But it doesn't intersect quite as intensely as musical notation does in Western cultures. Most cultures around the world, if you stop and think about it, don't use musical notation. But we do here with our art music, and that has two advantages. Let's talk about the advantages first. One, it allows the composer to specify, rather precisely, what he or she wants, to sort of write things out in the form of musical details. So, as a result, the creator in this Western art form takes on greater importance than the creator in other cultures, where the composer, so to speak, is more or less anonymous and perhaps synonymous with the group as a whole. So, again, the process of notation allows the composer here to loom larger. And secondly, this is another advantage of notation. It allows us to preserve the work of art. We can kind of freeze dry this thing and store it, and then bring it back to life more or less exactly as the composer had attended. But this, if you stop and think about it, takes the traditional balance of things and throws it out of proportion in our art music, our symphonies, concertos, genres of this sort. The performer is actually much less important. He's sort of in there. Let's think of this as architect and carpenter. The great architect, the thinker, is the composer. And the performer, the violinist, gets this piece of, gets this blueprint, or black print, in the case of musical notation, and is expected simply to replicate the black print. Well, that's very different than what happens in other kinds of music, other kinds of music. Let's talk about pop music for a second. Jazz, rock, hip-hop, blues, that kind of thing. You go over to the toads, you see the band come out and the first thing they do is plunk this in front of them. No, that'd be ridiculous. How many of you, I was walking with a student over to my office after a lecture the other day to get some material to him, how many of you play in a rock band, or have ever played in a rock band? Okay, a number of you, a young lady out there. Did you use musical notation? Now, that'd be kind of silly, right? It's all, okay, so how is it done? It's all done orally, and we'll talk a little bit more about that as we go along. So the composer in the West is very important, more important than the composer in other cultures. Other cultures don't use this type of notation. Here's a thought for you. Musical notation was the first graph in Western culture. How could that be, you say? How could that be? Well, if you go back to the formation of musical notation from the ninth to the twelfth centuries, we see that very early on these two dimensions of music, the two axes of music that we talked about before, pitch vertically, and duration horizontally, are in place, and we have these sort of spots in this grid. So musical notation, first grid pattern in Western culture, but it does lock us in in interesting ways that we may, you perhaps have never considered, particularly compared to how music is made in other cultures. Let's see how some music is made in other cultures. We're going to play here now as our first excerpt, an adhan. And what this is is the Islamic call to worship which is sung across the world thousands of times every day. And as we listen to this, I want you to think about the vocal production here and how what's interesting are all the vocal nuances. So let's listen to just a bit of this, please. Chaya l-as-salah. Stop there. Fascinating. What a wonderful sound. But the beauty of it is all between what we would call the notes. We would specify a precise frequency here, another one up here. But what that gentleman was singing was all the stuff in between that made it very beautiful. And there's no way in God's earth that we could replicate that through the Western system of musical notation. Let's take another example. We're going to go to the realm of Western jazz here. I'm going to pick on Chuck Mangione. Anybody ever heard of Chuck Mangione? Yeah. Okay. Brian, our tech guy, has. He's an older fellow. He's sort of my age. And the reason I mention Chuck Mangione is that years ago I went to school with him. He was a couple of classes ahead of me at the Eastman School of Music. I was a fledgling pianist. He was a very good trumpeter. Indeed, he was winning Grammys when he was in his twenties. And he's been recording sort of esoteric and sometimes more pop jazz thereafter. Now, you can go to a Mangione concert. He will sometimes play the Schubert Theater there. And you'll have two hours of spectacular jazz. But what you won't see again is any sort of music in front of them. So how do these musicians generate two hours of music with no music in front of them? Does this mean he doesn't read music? Of course not. You can't get through these conservatories like Eastman or Julliard or Curtis without being introduced to an intense regimen of musical notation. But it sort of otherwise would get in the way of the music. So let's listen to a track here, a sax solo. And I'm going to try to make some sense out of this, because it gets more and more complex by following the electric bass underneath. So let's listen to an old tape. He used to go to bars in Rochester and listen to this guy and tape his stuff. So here's Chuck Mangione with his saxophonist and a saxophone sort of cadenza almost. It's a wild riff for saxophone. It gives you an idea. Now, how in the world would you ever notate that? And to produce this prescripted document that anybody else could follow was all improvisatory. If you tried to notate it again, you would take all the spirit out, all the heart out of the music. Well, how do they do that, though? One of these performers plays such long spans of music without any notation. Is it all memorized? Well, it's not memorized as we think, and you may have had music lessons along the way, and your teacher and your mother said, go memorize your piece. It's not memorized like that. There are certain basic patterns that they have. They might have a, let's say, for that sort of music they've said, all right, we're now going to have a 32-bar solo, we'll be in the key of E-flat. We're going to work through a 1-6-4-5-1 chord progression, as we'll come back to that. We'll come back to the dominant chord for eight beats, and all I, Chuck, will look over, and everybody else will come back in at the end of Chris's solo. It would be that kind of thing, kind of head charts, general plans, and within that general plan a lot of freedom of expression. So, having said that, having said that about musical notation, something about a cautionary tale about musical notation, we should think about how it affects the way we compose music in the West and how we perform music in the West. When you go to a concert of classical music and the music is playing and you start to talk what happens, somebody will go, shh, right? We go to these concerts and we have to be so quiet. Why do we have to be quiet? That doesn't sound like much fun. Why do we have to be so quiet? It's because we have these performers up there that are playing this blueprint and everyone is listening, basically, to see how accurately they can reproduce, revivify this artistic artifact. So that's sort of what's going on, but it really does affect how we behave even in a concert. Now, if you go to other cultures and they are engaged in their own classical, not just popular, but classical music, Indonesian gamelan music. For example, the audience will be there playing back and forth, clapping, applauding with the performance for particularly good solo, the same thing with Indian sitar music, that classical tradition. Oddly, it's much more like going to a jazz concert, where the audience is sitting maybe around tables or something like that and encouraging and interacting with the performers. But again, in those cultures, no notation. Notation, everybody sits there sort of mummified, waiting for this great work of art to come back to life. It's an interesting thing. And isn't it sort of typical of us in the West to take something music, which is expression and feeling and motion and movement and a response to sound, and turn it into a complex patterns, complex patterns that can be sort of visualized and rearranged and analyzed and nowadays even digitalized? What we've done is take this spontaneous response to the creation of sound and bodily movement with sound and sort of replaced it. We've replaced the ear and maybe the heart, the ear and the body with the eye and the mind. It's a much more visual. It's a much more analytical type of approach to music. And it has its pros and cons. We get great Mahler symphonies, yet we have everybody sitting there, rock still at these concerts. Okay, having said that, and I guess pointing out the advantages and disadvantages of notation, let's plunge in then to a discussion of it. Put on the board up here the following. We're going to review this. It's simply material found on page fifteen of your textbook, but let's review it. We say this is a beginning course, so we assume no previous knowledge. If you've read through that material and you should have read through it by now, you know that we have a value in music that's called the whole note. What the whole note is, what all these symbols are, are simply representations of duration. So we have a symbolic language here that's going to represent the horizontal axis, the axis of duration. And this whole note obviously can be subdivided into two half notes, and each of the half notes into two quarter notes, each of the quarter notes into two eighth notes, and so on. So these are symbols telling us how long a particular frequency is to endure similarly, just as we have symbols for the presence of sound and its length. We have symbols that represent the absence of sound. We call those, of course, what? Rest. Okay, so we're resting over here. We're not making any music. So we have the notes and their values and the rest. We've noticed that they're all pretty much duple in their divisions. Now, here's a question for you, all duple divisions. How do we make, how do we get triple arrangements in music? How do we do that? Well, we take our basic note and what do we do to it? I bet some, I'm sure some of you know to this. How can we get a half note that actually equals now three quarter notes? What do we do, gentlemen here? At a dot, what does that do to this value specifically, in terms of ratios? It adds 50% or a half to that, and that means instead of two quarter notes that we now have three. And we can do the same thing to any one of these other values here, and that's how we get our triple relationships. Okay, so those are the basic note values, normally with a duple division, but we can superimpose the duple by using a dot and the absence of sound. Now, let's talk for a moment about the idea of pulse in music and the beat in music, and rhythms in music. We all know that there is this thing in music called beat, and to the extent that popular music is more interesting and that everybody likes it and go dance to it, it's because it's really foregrounding beat and rhythm in an important way that classical music does not. So I've put this idea of the beat up on the board here. It's really just a pulse. It's very much like the human pulse. This is the pulse of music, and music theorists, ever since the late fifteenth century, from Kinu's Gafurius, we could go all the way back to him, have said that the pulse in music is basically at the same tempo as the human pulse, which comes out to be about, oh, we'll say, seventy-two beats, if you will, pulses per minute. So we have this pulse, and it's just kind of out there streaming, beat, da, da, da, da. But we don't like undifferentiated, disorganized material in the West. Our psyche says we've got to bring rational organization to this. Ever think about this? Why do we have this periodicity when you take history courses? Why do we have the Renaissance, the Baroque period, the Classical period, the Romantic period, and so on? We have it in music, you have it in history, we have it in the fine arts. Why do we have it? It's simply a convention established after the fact that allows us to organize material in ways that we can grapple with it, the ways that we can understand it. So in music what has happened is that we have organized this steady stream of beats in ways that we can understand it. We organize them, we subdivide these into units of two. For example, groups of two, like this. Or we have an undifferentiated stream like this. I am convinced, even though I'm sure that the Toyota Motor Company didn't organize it this way, I am convinced that on my automobile, when I do not plug in my safety belt, that there is a bell ringing, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding. I don't think they were thinking of that in terms of triple meter here. I think they were just a succession of dings, but I'm hearing it. My mind wants to hear this organization. So there's another organization here of units of three. As you may know, there's yet another organization where we could group this in units of four. But for all intents and purposes, there are a few nuances to it. Four is simply a multiplication of two. So in our course, we are only going to have two types of meters. These organizations, taking the beat and organizing it into groups, is called superimposing meter on the music. Then we want to indicate that meter to the performer. It's a way to tell the performer how this music is to be executed. So what do we do? Well, in music the most basic symbol for the beat is the quarter note. The quarter note usually carries the beat. Okay? So here we have a series of groups of two quarter notes. We have the convention of music of writing this symbol indicating the beat-carrying unit of four. So I'm writing a four underneath each of these. Then I look up here and I say, well, up in this duple pattern, I have two of these quarter notes. So I'm going to write a two out there. That tells the performer that the quarter note is carrying the beat. Think of the chord. You see a quarter note? That's a beat. And that there'll be two in each of your units. These units we call bars or measures. And just to finish this off down here, we would have three quarter notes, of course, in this particular arrangement. Okay. Now ultimately what happens with this is that we begin to take this stream and organize it into different patterns. I could go da-da-di-da-da-dum, something like this. And we would call that a rhythm. Superimposing longs and shorts, different patterns, patterns that oftentimes repeat, the dividing up of this stream into different patterns, often repeating of longs and short, is superimposing rhythm over top of this basic beat, which is organized in terms of these meters. So are there questions about that? Does that seem straightforward enough? Now as you may know, some of you may have played clarinet in a high school band or something like that, neither here nor there, if you did or did not. But you may know that there are other meters out there. These things called six, eight. I was thinking this morning. Bum-di-di-di-di-di-di. Bum-di-di-di-di-di-di-di. Bum-di-di-di-di-di-di. Bum-di-di-di-di. Four, five, six. One, two, three, four, five, six, one, two. Well that's a beat that's basically a duple meter with a triple subdivision. But we're not getting into triple subdivisions here. In our course, the beat is always going to be a divided, to the extent that it's divided, always going to be divided into two. We have only so-called simple meters rather than compound meters. You want to learn about compound meters? Go take music, two, ten, and become a music major. That's the kind of thing that they get into. But we're not doing that here. We're interested only really in two things. One, can you differentiate between duple and triple meter? And two, can you recognize some very basic rhythmic patterns? And we'll be doing some of that today. Questions again? Okay. Let's then proceed. I used to have some glasses, but that's okay. I'll just... Oh, here they are. Okay. Let me play some music at the piano. This is Bulldog. Isn't this the Yale Fight song? Who wrote this? Anybody know... You probably heard it eight zillion times at football games. It's great. What a wonderful Yale. Yale was so lucky to have this as a... So, yes, I think I hear somebody out there. Cole Porter. Who is Cole Porter, as I vamp for my music here? Ah, fooie, I've lost it. Who is Cole Porter? He was a Yale graduate, class of 1914. And unfortunately, I seem to have misplaced. Well, I can generate a little bit of it here. Okay. I was sort of trying to remember the first page of missing music there. So is this in duple meter or triple meter? What do you think? And how do we find out? Tap your foot. Did we find any music? Ah, thank you. Enlightenment. Enlightenment from Linda. What's the key here? What do you listen to? How many think it's in duple meter? Raise your hand. How many think it's in triple meter? Okay. Almost everybody thinks it's in duple meter, and that's correct. We worked through this just a little bit once before. What is it that tells us that it's in duple meter? It's the bass, because it's organizing itself very strongly in duple patterns. There's one other interesting thing in here. This would be, well, let's think through that in one additional way, and that is notice that in duple meter we have a strong beat, right? Strong, weak, strong, weak, strong, weak, strong, weak in that sense. Or if we have triple, it would be strong, weak, weak, strong, weak, weak. There would be two weak beats or two unstressed beats between each strong beat. We could do this. And we'd have the waltz of the bulldog. It would be pretty cool to see, actually. So there I'm simply taking the Cole Porter piece and throwing in an extra beat in each measure, an unstressed beat in each measure, and it works out pretty well. Notice this would be, Harvard would have had a field day with this melody if Cole Porter had not done one thing. He makes this really rather snappy by the use of this kind of stuff. We're coming on bom, bom, bom, bom, dan, dan, dan, dan, dan, dan, dan, dan, dan, dan, dan, dan. What's that a good example of? Sink of patience. Yeah, it turns on the board up there. But it's a good example of sink of patience, sort of jumping in ahead of time, cutting off the beat, getting in there ahead of time, and throwing off the metrical balance for a very short period of time. Okay, so that's a duplometer piece. And what we're trying to do here is just here, if we've got one strong and one weak beat, or one strong and two weak beats. How do we do this? How are you going to do this? Well, I think one thing that's very helpful is for you to start to move, to move around, to sway, tap your foot. Now, we can't do this during an existent test in here. It'd be a little bit annoying, but we really have to do this. Now, musicians, being a bit more uptight, oftentimes classical musicians than other more spirited folks, have developed this tradition of using conducting patterns, right? So for a duplometer, we just go down, up, down, up. It's kind of maybe a little shake over to the right, down, up, down, up, that kind of thing. And for triple, we do down, over, up, down, over, up, down, over, up. Okay? So I'm going to start playing here, and you are going to start conducting. You're going to listen just for a second, and then you're going to move, and you're going to move using the conducting pattern. Okay, good. Now, I see some of you out there from like this, not really participating. And if I can get up here and think about this. I'm old. I'm sort of used to think of myself a white Anglo-Saxon Protestant. I have every reason in the world to be repressed, right? I could... So if I could be up here making a fool of myself on a daily basis, you guys are much younger than I, and known for outrageous behaviors. You can certainly get in here and move and flow and go with the beat here. So here we go. Everybody together? Much better. Okay. I'm watching. Good. Virtually everyone has got the downbeat here. You're not going... You're going... So there is a sense of downbeat. There is a sense of downbeat, and we'll come back to that in just a moment. Let's do a triple meter one. Here we go... Excellent. Very good. Now I'm going to modulate. Go to a different key. Okay. There's a little confusion here, so let's try to do it together. You ready? Ya-di-di-di-di-da-di-da-di-da-da. Okay. Now this gentleman out here is actually doing it different from what I am doing and what most of you are doing. But you know what? He's doing it correctly. We're doing it incorrectly. Ya-di-di-di-da-da-di-da-da-dum-dum-dum-dum-dum. What's wrong here? We're off. We're off because our downbeats, our strong pulses, always have to come on the first part of the bar. This note, this note. The first part of the bar is called the downbeat. It's the most important thing. And our conducting pattern always has to have the downbeat of the hand in sync with the strongest impulse in the music. The strong, the downbeat in the music comes with the down motion of the hand. So we were getting ya-di-dim. Well, there's the downbeat, but we were putting that on two. One, two, three, one, two. We don't want that. We want one, boom, at that point. So what do we have here? What's happening? Well, there's a little bit of music before the downbeat. That's called a pick-up. Okay? So we have a little pick-up. Di-di-dim. I was thinking of a diver in the Olympics. You know, they go out there and they do these little steps just before they spring off of the board. Dum-dum-dum-dum-dum-dum-dum-dum. That bump-dum-dum kind of gets you really landing good and hard on that downbeat. So the downbeat is very important to us. And we could conclude this by saying that although all music has a downbeat, although all music has a downbeat, not all music starts with the downbeat. Sometimes when listening to music you have to wait. Listen for a while and your body almost will start to tell you, tell you, start to signal to you where the downbeat is. Is it really your body that will signal this to you? I doubt it. It's your brain up here processing all this information. We talked about the auditory cortex, the first section, and maybe there are other parts of the brain that are factoring in here as well. But how is it that composers send this information to, let's say our auditory cortex here? How do they do that? Well, there are four principal ways that composers signal to us the whereabouts of the downbeat. Okay? So let's review, let's focus on that just for a moment. Okay, way number one. Way number one. That has to do with duration. Duration. Notes are simply longer, held longer. That's how we have a sense of where the downbeat is. I guess it's a spiritual, huh? Beautiful. But think about that. Short, long, short, long, short, long, short, long, short, long, short, long, short, long, short, long. And all of those long notes are coming on the downbeat. So that's how we start to hear that as a downbeat. And that's how we know to make our hand go down at that point. So that's one way. Now, another way is through accent. And to exemplify this, let's turn to some classical music, the music of Mozart. So here we have Mozart's fortieth symphony, his famous G minor symphony. And Linda, go ahead and start to play it. Just go ahead. Maybe a second or two before it pops up, but it's going to come up. Several of you are actually conducting this. That's great. That's great. Okay. And that's fine. That wasn't the question here, but great. You're hearing that and I'm delighted. What Mozart has done here, if we could get the score up here of Mozart's music, we would see that he has put a little sort of arrow over top of a wedge, over top of each of the downbeats, so that the string player will really accent those. But the string player would be accenting them anyway. Why? Any violinists in here or anybody ever played a string instrument? What are you always told to do? When you're playing a downbeat with an up bow, are you in good shape? No, no, no, no. Your teacher would not be happy with that. Your bowing pattern is probably backward at that point. String players are taught, whether it's cellists going this way, downbeat or violas, and violinists coming down this way, that the downward motion of the hand or the pull across, the strong pull across, should come with the downbeat that emphasizes the downbeat. That's how we know the downbeat. So, so far we've had duration and accent. Mozart is actually writing accent into this. The third way that composers signal to us, that we pick up almost intuitively the whereabouts of downbeats, is through patterns of accompaniment. We'll call it range, range. Okay, so here's a waltz by Ricard Strauss, not to be confused. No, excuse me, by Johann Strauss, not to be confused with Ricard Strauss that we heard last time. And so on. What's important here is the left hand. That's why we hear a triple pattern there. We're hearing two weak beats, and the strong beat is always in the lower position here. So we're getting low, middle, middle, low, middle, middle. Or it could be something as we had the other day in the Tchaikovsky Piano Concerto. Low, middle, high. Low, middle, high. But each time the downbeat seems to be coming in association with that lowest note. So range or position here in the accompaniment can oftentimes signal this information to us. And finally, and most important, these others I think have been pretty straightforward. These others have been pretty straightforward. But what has not been straightforward is something that you might listen to many, many times and not be aware of. And that is chord changes. If you know that we have chords in music. Sort of these building blocks that support a melody. And they have to change for that melody to be consonant all the time. But where they change oftentimes is on the downbeat. Most frequently chord changes come on the downbeat. So composers signal to us in a fourth way the downbeat, by means of chord change. Now we're going to play just a little bit of pop music, not too loud Linda, because this thing is really hyped up. A bit of pop music here. And by playing this you might think that I think that I'm hip or with it. We're going to play some rock and roll. Do I look hip or with it? Hopelessly out of touch with popular culture. And nobody knows this better than I. And to prove this I've chosen a piece because there's a little story with it. I like this piece because it does something. And I've used it in previous years. And I put it on and I would announce. I'm now going to play out of the doc. It's an album called Document by Rem. And put it on and Rem, that's fine with me, that's what it says, Rem, put it on. About two years after I was doing this a student came up and said, oh Professor Wright, it's really not Rem. Oh. Okay. So that's how distant I am from all of this. But let's listen to a little of this. It's in a straightforward four. Rock really comes forth, not so much in twos but in four. So we'll call this a four-four. And you can kind of beat a four pattern to it. Or you can beat a two pattern. It doesn't really matter. But notice that whenever the chords are changing they're changing on downbeat. So let's hear a little bit of this and then we'll stop so they don't sue us for copyright infringement. And then we'll go somewhere else and take another chunk. But listen, change. So that's all they're doing there. They're just taking, every time they're changing, you notice every time I said change and eventually you'd be hearing, you'd be saying change too. Every time they're changing your hand is going down, your hand is going down. So chord changers may be the most powerful, powerful of all of these aspects of where the downbeat is. Okay. I had intended to give you just a little bit of a rhythmic quiz but let's just do one of these things. Here's something else we have to do in here. We have to hear a rhythm and recognize it. So we have a series of rhythms on the board up there. You can choose rhythm for excerpt one. You can choose rhythm A, which is da-da-da-da-da-da. Or you could choose rhythm B. Da-da-da-da-da-da-da-da. So I'm about to play a piece. It's by Chopin. Which rhythm is in play here? Which rhythm am I playing? Is it A or is it B? So what do you think? How do you think A? How do you think B? Okay. So that's not too challenging. We'll be doing some of that. Then Chopin is sitting here and he modulates. He changes key. What about this? This is number two. Is it A or B? It's by Chopin. How long did it take old Chopin to think that up, do you suppose? Two seconds? Three seconds of white hot inspiration. I'm 64 years old and I haven't had one second of genius in my entire life. This is really depressing. It's discouraging. I soldier on but it hasn't come to that. You're younger and I'm sure that your moment of genius is out there. It's really the difference between perseverance in my case and genius, pure, unadulterated genius in the case of Chopin. What a beautiful melody. In any event, the answer is what? A for two. Is it A or B? What do you think? A. Yeah. So that's his rhythm A. All right. We're going to end with one final exercise. It's a fun piece. I think it's fun to do. It's a piece by Maurice Ravel called Belaro. It's a unique piece. Maurice Ravel was a French composer writing in the early 20th century. It's a unique piece because what he does is take some very basic patterns and simply repeats them over and over and over again for about fourteen and a half minutes, depending upon the tempo that the conductor is taking the music. So let's listen to a little bit of this music. And I want you, maybe as a group, to tap with your foot, your hand, whatever, just the beat as you hear it. You don't have to pay any attention to this. We'll come to this in just a moment. But just tap. It will all, maybe eventually, altogether the beat. Here we go. Most of you are not tapping, so everybody start tapping where you think it is. Good. All right. Let's just pause it right there. Let's just pause it right there. Gentleman out here in the orange shirt. I'm going to have you be a conductor. You were doing really well and you were conducting correctly early on. So good. Here's what we got. We got most people going bum, bum, bum, bum, bum, bum. Some people are going dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot. And in this course we would know whether you're hearing duple or triple based on some other information. So don't worry about if you're going dot, dot, dot, dot, dot. That's a little bit fast for a beat. What you're doing there is actually subdividing the beat into two. But don't worry about that. That's fine. You're doing eighth notes. The rest of us are doing other people are doing quarter notes. Okay. So the beat is done, done, done, done, done, done. Now what music have we been hearing here? Santana. Where are you? Okay. Come on up here. Take a look at this. Linda, come on over here and take a look at this. We should have rehearsed this in advance. We did not do this. These are two ladies that are very experienced singers. I want you to stand right up here, please. But they have not been forewarned about this. Take a look at this. Ya, we're going to do it together. Here we go. You're going to sing that top melody one, ready, go. La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la. Okay. And we're just going to keep, yeah, it'll be fine. It'll be fine. And we're just going to keep going in that once you get to the end, when then we're going to repeat. Okay. Here we go to sing. La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la. Okay. So you're going to keep going over and over and over like that. I'm going to be this thing here. It's just going, this is the percussion. Okay. There is no pitch to it. It's just rhythm. Up here we have melody and rhythm. Here we have just rhythm. Underneath we have bum, bum, bum, bum, bum, bum. We have basically harmony. Harmony. But it has a simple rhythm to it. It's a rhythm with a couple of different patterns. You, students, are going to sing this. Okay. So here we go. Everybody together ready, sing. Bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum. Okay. Now. All right. So here we're going to go. The gentleman in the orange shirt. I hate to do this to you, but we've got 30 seconds. Stand up. You were doing a great job. Stand up. And that's fine. You can face me. We'll coordinate it better this way. And just conduct this in three. I'll start conducting with you and then you take over. Here we go. One, ready, go. Okay. Great. This is actually terrific. We're going to take it to Hoboken and Sheboygan. We're going to play across the world with this group. Okay. Thank you very much, ladies. The point here. Final point, and then I'll let you go. This is a melody with rhythm. This is pure rhythm. This is a harmony with a very simple rhythm here. Who is playing the beat? I ask you to conduct the beat, or to tap the beat. Most people, when everybody was tapping the beat, just fine and dandy. But notice up here, nobody is playing the beat. There's nobody up here that's playing the beat. The brain perceives all of this complex information, and it processes it, and it extrapolates from it. It extrapolates from it the beat. But again, nobody in music except the bass drum player in the marching band, nobody in music ever does anything except just play the beat. Okay. So I'll see you starting this evening in sections.