Intermediate Eurhythmics

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I'm Cynthia Lilley I come from New York City, as many of us, at this conference do. And, I am a licensed teacher, and, I look forward to teaching you right now.

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Would you take a partner?

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When I modulate, you will find a new partner. Okay. Those are the cognitive things. Those of you who are at Thomas Parente’s How many of you were at Tom's this morning? A few, well, anyway, he said we start with cognitive.

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Unknown
The cognitive is change partners. When I modulate to a new key,

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Unknown
Sorry. That was.

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Unknown
Is this the same music as I was playing before? Is there anything different?

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Unknown
That's not a modulation. That's.

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Unknown

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Unknown
Good. Are you warm? Yes. Good. This is this is, used frequently at Dalcroze conferences. It's called the the Modulation Waltz, where you trade partners on the modulation. So I said waltz. What what, what are some of the operational aspects of of the waltz? What's the big, most obvious? The threes. Yes. The threes. And threes. Immediately.

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Unknown
Give a certain kind of quality. I was playing lots of different kinds of dynamics and in different registers of the piano, but you couldn't help even when I was pounding down there in the bass doing this. What, what kind of what what's a typical movement when you're waltzing this way? Yeah. Big swinging. Swinging. Yeah. And you said strong downbeat.

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Unknown
Both of those. And the strong downbeat will, in fact create that sway. I mean, that's what it's all about. Since we have only two feet, that will send us from one side to the next and just do it with me, just to get into the flow of it all by yourself. When you're with a partner, you tend to let that partner influence the swing.

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Unknown
Yes. Okay. So threes keep that in mind. I'm going to,

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Unknown
I'm going to play some pulses, and I want you to just clap them. Okay.

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Unknown
All the pulses I'm playing, you're clapping.

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Unknown
Step just the first of these. You're not organized. You can see they're organized. Just step the first one.

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Unknown
Yes. And keep your body alive. Between all those.

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Unknown
It's lovely.

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Unknown
Now, just keep going. I'm going to try to keep doing this and talk over myself. I'd like you to organize these pulses into equal beats. There must be at least two pulses per beat. And you're going to organize them by showing how you're stepping. But you keep your hands.

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Unknown
There we go.

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Unknown
Your beats must have an equal number of pulses in them.

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Unknown
And actually step those new beats that you you're playing with. That's the way. Here we go. Yes, Carmen. Good, David. There we go.

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Unknown
Look around. See if you can find people who are doing it the same way you are.

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Unknown
You can change your way if you want to play around with it. If somebody else is influencing how you do this, that's fine too.

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Unknown
Now keep one way. Keep doing it that way. And now, as you clap with your feet, are doing.

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Unknown
Clap a little louder. Good.

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Unknown
Keep going.

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Unknown
Keep going.

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Unknown
Come into a circle. But keep doing what you're doing to get into that circle.

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Unknown
Keep going.

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Unknown
Look at the body. The movement of the bodies around the circle.

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Unknown
Your feet don't have to move anymore. Keep your hands going.

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Unknown
Gradually let it fade until it's barely audible.

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Unknown
Until it just fades away.

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Unknown
Good. Good. Okay. So have you in a circle, and yet we need to talk. So let me make the the board a part of the circle. So you have these pulse levels, which I'm going to say are eighth notes. I'm just legislating that. And how many, of course. Were there? Yeah. You're intermediates. You know, all this stuff already.

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Unknown
Okay. And one way to have equal, beats within within these six subdivisions is to group them. How? Three. Sure. So that you're going to have.

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Unknown
That going on. Right. And these become.

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Unknown
This. Which some of us call running and running and another rest call pattern. You know, whatever you call them, you do call them something. I'm assuming. And then the then then the second way to do this is to group group them into, which gives us this. And also this group.

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Unknown
Okay. So it's interesting here we've got threes which is really what I'm going to be dealing with today. What. Well this is what meter. Just for the record 6/8. And this is what meter?

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Unknown
So what's three. About 6/8. The division of the subdivisions are what are interesting here. So yes, we have in fact, what's known as a binary measure. That's is to say it's divided into two parts, but it is with a ternary beat. And that gives us so much that ternary beat. And what is three ish about. The three four.

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Unknown
It's a ternary measure. So the beat itself is what gives us the three four measure and the beat us binary, which in the sense is neither here nor there. I mean, it could be nine, eight, which would give us a totally different feeling. But but it's the threes that really give us that flow. Would you step my bass and clap my treble?

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Unknown
So I'm like, you're a binary measure, ternary beat, ternary measure, binary I yeah, okay.

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Unknown
Do you remember my directions were?

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Unknown
All right. So, That's easy. One of my cues that I'm going to change from one meter to the other. Again, I modulated. So will you do that with me? I will support you for a while, but then I really. All I have to do is play the first note or my first, big dominant seventh chord that goes on the downbeat to the next measure and you will know what to do.

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Unknown
Yeah, let's see.

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Unknown

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Unknown
I'm sorry. I'm still the same key that was so bad.

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Unknown
Yeah. Yeah. Very, very, very good. Good. Yeah. And no problem for you guys at all. So going back and forth, it's easy to go back and forth because we have several things that are constant, two things that are constant. What is one of the constants? Obviously. All right. The downbeat always comes after or within with the six within six okay.

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Unknown
So our measure is the same length. And then what else is the same. The eight the eighth notes are the same. So underneath that even though those eighth notes feel very very different, they're always they're just purring along and you are supplying all of them one way or another. We call this a step clap. Is there a monitor who could get me a glass of water, a cup of water or a bottle?

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Unknown
Or can you do that for me? Chris? One of the most, you know, well-known pieces that goes back and forth, of course, is this. And go ahead and step, step, step, clap it as I play it.

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Unknown
You go.

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Unknown
Okay. Yeah. Yeah. And, that clearly is it. However, I ask you in the in the in the threes. Where are you going? Does that feel like a waltz? It really? Oh, you are so good. Oh.

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Unknown
Doesn't feel like a waltz. Why? Why not? Do you think.

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Unknown
Well, why me? Fast in the mouth as we were doing. What does it do to us?

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Unknown
What? When we're brings us upright. Too much more March. It does have a kind of. We're feeling the twos. Really? We're feeling the twos more than the threes that hold sway that we have when we were waltzing at the beginning. Isn't there at all? It's wonderful. We love it. But it's not the threes I'm after. I do this as just a sort of contrast actually.

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Unknown
So now can we make the the six eight, three still like this. Because that feels fun that that's.

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Unknown
That has that sway that we want. There's certainly other ways. But can we make the three without the subdivisions? The answers of course we can. Language I would like to use, which is not original with me, but I like very much. Little three little three little three little three. Great big three. Great big three. Say it with me little three little three little three three.

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Unknown
Great big three. Great big three great big. And if you really emphasize great as opposed to big or three, which is what was a great big three, you know, they're all of them are excellent. That's part of the problem there. So let's play the same game one more time. But just step the threes, okay. The great big trees and go ahead and mutter little three little three.

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Unknown
Great big three. Okay.

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Unknown
Oh and the great big threes. Will you go towards somebody so that by the time you get to a little three you've got a partner and then you don't have to step and clap. Yes you do. You're going to step. And I'm just making this up as I go along. Now that I say I'm going to do it with a partner, okay.

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Unknown
Big three great. Big.

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Unknown
With a part.

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Unknown
Find a partner.

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Unknown
Three great things. Three great thing. Three. Three. Great. Three of. Three.

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Unknown
Great. Big three. Great.

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Unknown
And I really want the first part of that to be a big step.

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Unknown
Okay. Come back into a circle. So. To conduct in three, four. Down. Out. Up down out. Up. Can we make this a real circle? Thanks. Come down. Out. Up. Great. Big three. Great big three. So we are of course, conducting the beach for, little three, little three. Those go together and we're. And two binary measure little three little three little three little three little change.

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Unknown
Great. Big three great change change. Change. There you go okay. So we're going to go around the circle. And everybody will have one measure of either six 8 or 3 four. We'll all conduct because we'll be able to tell pretty clearly. Well what about conducting in six eight. That's all. Do it. And sort of how can we tell a downbeat that's in six eight from a downbeat that's in three, four.

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Unknown
Eight if there's a jump isn't it. There's a there's a bounce. Yeah. It has a, it has almost a kind of rebound little three little three. And the other great big three great big three. Right. Okay. So we will start with Kristen. I have to tell you, I got to the airport yesterday and looked at myself in the mirror and realized I was wearing my computer glasses.

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Unknown
So, I'm now wearing my reading glasses, and my far side is just whatever it is, which is not great. So Kristen will have one measure, and then it'll go straight to you, right? And say it nice and loud, because, in fact, let's get closer. It's a very, good. Measure to what we're doing. Everybody is going to do a measure of either six 8 or 3 four that answer it.

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Unknown
Okay.

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Unknown
Oh. Say it. Oh, sorry. Yeah, yeah. Great. Big three. Great big big three.

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Unknown
Okay. So actually say it actually said if we're not with you. That's all right. I think it'll work that we conduct with you. But speak it out loud. So we can hear. Let's start again. So I start with the same thing. You can do whatever you so little three little quick, big three. Great big three, three little eight.

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Unknown
The great great big little. This is big three. Big three, little.

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Unknown
Three. This.

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Unknown
Three little. Three little. Three okay, we're fine on that. Now I'd like us to think in terms of four measures at a time. Okay. So, just just be aware of it. You might want to do something with your voice. You also, if you're within a measure, you're not just standing there alone. You're passing what you're saying on to the next person.

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Unknown
So I'll start this time and let's see if we can keep track of where we are in our for measure phrases. Okay. Little three little three three. Right.

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Unknown
Three. Three. Three.

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Unknown
Three.

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Unknown
Great.

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Unknown
Okay. All right. Well, we're we're we're 16 people, I think, equal number. Yeah. Okay. So, this time I'm going to say everybody has to be in six eight, except for one person in the group of four. Only one person in the group of four gets to do great big three. And if the person who starts does great big three, the rest of us are resigned to little three.

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Unknown
Okay? And we'll let you start your cycle. And I still do it still. Yeah. But will be a different four. Is it still the same direction. Yeah. Okay. We're good. Okay.

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Unknown
Great. Little three. Little three three again. Start big three. Oh okay. So let me let me say it again. In a group of four. Should we just do the same four we did before. That might make it easier. Let's do that in the group of four. Only one person gets to do great big three. Everybody else has to do that.

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Unknown
All three guys. Okay. Now we're going to start. We're going to be back where we were just because you know me. Yeah. So it's the same.

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Unknown
You shouldn't have to do this. You should be able to pay attention to 44 kindergartners.

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Unknown
This is the teacher. Okay. You.

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Unknown
Okay. Good. It's.

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Unknown
Great. Good. Listen. Two little. Three little. Three. Yes, yes. Okay. So what does that do when you had just one of them? It means that we're basically in six eight. Right? But we have an intruder. And what's it that's exactly. We're going. Yeah. That is our humility. That is the humility when we have two groups. I mean, when we have six, six subdivisions or six pulses and they are generally grouped in two groups of three, the genius results from switching that around and having three groups of two.

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Unknown
And yes, that's exactly where we're headed. So, what's the effect of that? He Mueller I mean, why do we. Yes, I feel like we're going from the energy to just that one move. The energy changes a lot. Absolutely. The energy changes a lot. How does it change? Well, the system has lost one. Yep. Yes. Yeah. That's absolutely right.

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Unknown
That's absolutely right. So it's it's it's right. So it's it's sort of slowing down the rocking, isn't it. Let's do it again. And we're going to feel it more when, when, when one person does it all themselves. But for right now, let's do one more time. We'll keep the same groups just so that we don't have to think too hard.

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Unknown
But but whoever is the he Mueller measure really go toward the next person and see what that is. In fact, how about this instead of conducting, let's step the beat. Now I said that six eight is all about threes. It's all about twos little three little threes. Let's do it that way. And then let's see what happens with the great big three.

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Unknown
That aggressive great big three. Maybe it's a shy great big three I'm not sure. Will I kind of go.

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Unknown
Right. Good good. So this.

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Unknown
God.

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Unknown
Is. Little three little three three. Great. Here we go. New one.

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Unknown
Okay, here. We're starting a new one here. New measure. Yes. Great. Three, three.

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Unknown
Great.

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Unknown
Good. All right, all right. So now we're creating an environment where it doesn't just sort of, Oh, not just I love the going back and forth between six eight and three four. That's marvelous. An American that all sorts of wonderful pieces that do that. The furious dance. But now we're using the three for a for quite a specific purpose.

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Unknown
And that is to create this kind of broadening. I would say it's quite an acoustic two great big three to you. You know, you didn't get to take that step because because she, she had to take it. So will you now all do it. And I found no, actually you will I'll do it. But let me start here.

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Unknown
Just moved to this music. This is our little three, by the way.

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Unknown
You all know this song. It'll rise from the Sound of Music. And if you don't love, love. Oh, we'll do it. Okay. All right, I'm going to do something to it. Here.

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Unknown
Just listen.

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Unknown
Got it. And it's for us.

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Unknown
Yeah. Now, of course. Having a come at the end. It may not be so an acoustic, but I'd like you to think of it as as such. So that. So that this time when you have that he mula really drive towards somebody, that he and that person can be who you're, you're interacting with. Okay? Until you drive toward somebody else.

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Unknown
Yes. Much better.

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Unknown
Is going to the downbeat of the next measure.

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Unknown
New way. Listen.

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Unknown
You can guess what's coming next.

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Unknown
Yeah.

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Unknown
My fault.

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Unknown
I'll get it this time.

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Unknown
Yeah, yeah, yeah. That's it. That that that. That's it. And, I'd like us to take partners again and make a. And we'll take a partner, and you're going to make an inside circle and an outside circle.

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Unknown
Chris, can you come down and be a partner, or do you need to monitor that?

00:37:03:18 - 00:37:36:02
Unknown
Chris is forgiven for not paying attention to the instructions. So here's what's happening. The inside person will stay where they are. The outside person on the he Mueller will move to the next partner. Okay. Let's see if we go. Chanti. Tom dent or dum dum dum bum bum bum. Okay. Inside people will start will start to their left.

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Unknown
Outside people will start to the right with a swing. Yeah, yeah. Look, let's, let's let's give it a practice here. And let's put the middle at the very end. Yeah. Thank you I saw okay. So here we go. Right over. Nice. Right and left. Right and left. On to the next right and left. Right and left. Right and left.

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Unknown
And on to the next. That's it.

00:38:19:01 - 00:38:32:25
Unknown
Okay. We got it.

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Unknown
There you go.

00:38:54:21 - 00:39:38:07
Unknown
The second way.

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Unknown
To.

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Unknown
Oh. Yeah. No. Stay with the person you're with and change sides so the inside is out and the outside is in. So we start with the here yellow now. Right?

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Unknown
Here you go.

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Unknown
Oh, yeah. We're starting with here now. Yes. Okay. We were talking on the, So. Right. Okay. Go back to where you were. I feel like a square dance. Go. Introduction of four. One, two. Starting with me. Oh, here we go.

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Unknown
Now stay where you are. Last, last one. He Meola on the first. He Meola on the second. He. Meola on the third. He. Meola on the fourth. One. Song. Got it. Oh four. What? Yeah. The first phrase, the he meal. It goes on. The first. Oh, the second phrase. He goes on the second. The third phrase. See him?

00:41:28:06 - 00:41:50:26
Unknown
He only goes on the third. There's a pattern. Here you go. Okay. So you have to focus to all this business about automating something automatic. Yeah. No, no.

00:41:50:28 - 00:42:32:26
Unknown
So we start right out with the he Meola. Okay. We start right out with four measures of introduction though.

00:42:32:28 - 00:43:08:10
Unknown
One more time. Oh, yeah. We better be where we are. Yeah. Okay, let's try one more time. It was so we should kick in heels in a row that you realize. Oh my God, let's not. Let's start. Take a breath and start again. Good point. This is the last time.

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Unknown
Thing.

00:43:31:09 - 00:43:46:17
Unknown
Bravo! Yes! That's it. That is it. That is it. Okay. So I'm going to play a pattern.

00:43:46:19 - 00:43:55:29
Unknown
And I want you to step it, that's all. Just step it.

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Unknown
And for this, I need my. Oops. Oh my God, a paperclip. I just celebrated. Yeah. So, thank you, Chris. Stopping this, and we can, Excellent, excellent, excellent. Well, let's just just since you bring it up for the mind, it is, but it's very good. Little three. I'll just write a little three. Little three. Where a great big three.

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Unknown
What a nice thing. And, did, did did. Oh, wonderful. Yeah. It means, it means you're going back to the same foot you started on. Yeah, but we can make that work. Let's try it again. I love it. He, He got it in Johnny, shell. And that's where you were? Yes. Yeah, he did.

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Unknown
Daddy did not teach. Oh.

00:44:59:16 - 00:45:10:16
Unknown
Lovely, lovely. Thank you. Chris. That's great.

00:45:10:18 - 00:45:16:01
Unknown
Hook it. Hook.

00:45:16:04 - 00:45:25:13
Unknown
All right, here's your pattern.

00:45:25:15 - 00:45:32:24
Unknown
Step the beat.

00:45:32:26 - 00:46:16:16
Unknown
Go ahead and swing as you need or want.

00:46:16:18 - 00:46:49:07
Unknown
Yeah. Lovely. What a difference in your movements. By the way, since going through that whole Edelweiss business. So that again, getting back to what Tom Parente was saying this morning, trying to get something automatic in your body. When we say automatic, we don't necessarily mean like a robot. We in our case, when we're talking, when we're doing Eurythmics, we mean the whole musicianship quality of your movement.

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Unknown
All right, so what what do we seem to have here in terms of little threes and great big threes?

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Unknown
Yes. Little three little three. Great big three. Yes. Now I'm going to tell you something about Edelweiss. Richard Rogers, the composer, actually wrote it in 3 or 4. He actually wrote it in three. Four. It's okay because we can just simply make everything twice as long. Right. And the term for that is augmentation. So our little three will now be.

00:47:40:04 - 00:47:57:18
Unknown
And so we've we've been in six eight and something like three four. We'll now be one, two three. That's our first little three and our second little three.

00:47:57:21 - 00:48:17:03
Unknown
And our great big three. These are now going to have to be half notes. However since we're in three four we cannot put this the next half note into this measure. So how are we going to do it. Tie.

00:48:17:05 - 00:48:47:13
Unknown
We know a thing or two around here. Okay. And then it's here. So that's the picture. Now. And it actually was with Edelweiss. Another way of thinking about this. Now, let's just keep that picture there for a moment. And and with that in mind, your your your little three is still I want you still just to walk the downbeat of the three four measures.

00:48:47:16 - 00:49:36:02
Unknown
So it's 1 to 3, 1 to 3. Great big three little three. But your visual sense of it is slightly changed when it's in three, four. Okay. Keep going. Big three.

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Unknown
Yeah. Good.

00:49:41:20 - 00:51:08:16
Unknown
Good. Now I'm going to change it just slightly listen to the whole sequence and then join me.

00:51:08:18 - 00:51:24:07
Unknown
What happened? Say it louder. Back to the first part. I put this three.

00:51:24:09 - 00:51:45:20
Unknown
I think. I think you may be saying the same thing. Can we do this one more time? It changed. It's not this. It's very close, though, right? Yeah, but it changed. Yes. Do it again. So, I mean, some of you may know exactly, but let's see if we can get everybody more aware. And let's see if I can be more obvious to.

00:51:45:22 - 00:52:35:15
Unknown
Here we go.

00:52:35:17 - 00:52:42:21
Unknown
Yes. What changed?

00:52:42:23 - 00:52:47:26
Unknown
You changed that? Give me all the better.

00:52:47:28 - 00:53:22:19
Unknown
Jennifer, you look like you're about to say something. No, Christopher was conceptually the first time. The second time? But really? Okay. Because say, it was little three little three little three. Great big correct. Except on the second hand, it felt like it changed because of the tonality. Right. You're absolutely right. So now we have an extra measure.

00:53:22:20 - 00:53:31:18
Unknown
I simply put in an extra measure, I, I elongate this,

00:53:31:20 - 00:54:15:14
Unknown
So now three, four. Little three. Little three. Little three. That's all at. You know, it may be that at this temple also, it's a little harder to tell. So let's do this. Little three little three little three. Great big three little three. Okay. So you're going to clap the the subdivisions for the little three is the great big three is just really enjoy the grandness of the slow steps.

00:54:15:17 - 00:54:30:12
Unknown
Not great. You know if you don't do this aggressively you can clap the subdivisions for the great big three. Two. Let's do it. Yeah, that looks good.

00:54:30:14 - 00:54:41:26
Unknown
Here you go.

00:54:41:29 - 00:55:17:08
Unknown
That's it.

00:55:17:10 - 00:57:06:11
Unknown
Would you interact with each other?

00:57:06:13 - 00:57:13:03
Unknown
Yes. Yes. Okay. Good.

00:57:13:06 - 00:57:24:21
Unknown
Now, if you look at this, this really could be written as nine. What?

00:57:24:23 - 00:57:54:07
Unknown
Nine. Four. Yeah, this could be nine. Four. It would be one great big measure. It would be virtually impossible to read. But it is another kind of way of thinking of this. And this could be written as six four. That's right, that's right. So there are there are other things lurking around in here. I'm going to add one more tiny little thing.

00:57:54:09 - 00:58:22:14
Unknown
Just listen. I'm going toward a piece. This is what the piece does. This isn't just, you know, malice on my part.

00:58:22:16 - 00:58:53:12
Unknown
As I.

00:58:53:14 - 00:59:01:07
Unknown
Yeah. Okay. So what do we have? Right.

00:59:01:09 - 00:59:33:20
Unknown
And here's what I would really like to see here. I would like this to be moved just the way you are. This is one group of three. One, two, three. This is another group of three. I'm going to put it into three four to make it this I mean three, three, two. Three two. So we're going to, we're going to you know, I'm saying three four.

00:59:33:20 - 00:59:47:22
Unknown
But I want you almost to think of it as nine four because you're thinking of this as one big thing. This is three four, I mean three two. And this is three, four.

00:59:47:25 - 01:00:39:25
Unknown
And I want you to step all of these. So we're really feeling three different levels of three. And let's just do it together. Yes. Stepping on the pulse here which will be an acoustic back to this one okay. So here we go. Just together 12312312312312312312312312. And of course we're speeding up because that's what that's what human beings do.

01:00:40:00 - 01:00:54:05
Unknown
The piece itself is very very slow. So I'm going to try to keep you, to anchor you a little bit here. I'm going to give you three measures for nothing.

01:00:54:07 - 01:01:16:02
Unknown
Go.

01:01:16:05 - 01:01:37:18
Unknown
Good.

01:01:37:20 - 01:03:02:07
Unknown
Good.

01:03:02:09 - 01:03:09:24
Unknown
Yeah. Odd harmonies aren't there in this. I'm going to hand it out.

01:03:09:27 - 01:03:25:29
Unknown
One, this is a, a piece by Peter Schickerling. It's a can. Do you know this? You know, this is three piece.

01:03:26:01 - 01:03:29:23
Unknown
It's a cannon.

01:03:29:25 - 01:04:06:28
Unknown
David, when did you know that this was out the. That I was doing this. And did you actually, it was. It came at the point when you made that switch I had. I know this. Yeah. That's funny. Yeah. It's interesting. It's got any. So, Peter Schickel, better known as PD, Q Bock. A serious composer in his own right.

01:04:07:00 - 01:04:27:16
Unknown
This is a very difficult piece to do in tune. And one reason why I have been playing it on the piano is to get it in your ears. To get us a head start on this. Let's get closer to the piano. It's going to be it's definitely going to be a acapella. And I don't actually even want to use the piano.

01:04:27:19 - 01:04:44:19
Unknown
But I may need to. So let's conduct it. In fact, no, let's step it just how we were doing it. So in fact, let's speak the words, familiar words. You notice that it starts on a rest.

01:04:44:21 - 01:04:49:08
Unknown
Chris. Thank you.

01:04:49:11 - 01:05:41:07
Unknown
So it will be I don't know, this part. You don't know bass. Paul. Jim. Jim, don't know who this. Paul I don't know this, chair. Don't, know, be, Jim Paul. Church. Done. No. Oh. Paul. These to, So what do you notice that the, the last time through. It.

01:05:41:10 - 01:06:09:14
Unknown
Well, it's that the that the the, three four measure before the fourth part. The fourth line actually is an acoustic. It belongs to the next to the next part. And then we have these wonderful suspensions. They're not in the list, but they are suspensions and suspend combined with him. Aeolus are just, just, you know, God's gifts. He's the original all the original.

01:06:09:14 - 01:06:36:26
Unknown
He uses the He Meola type. Yeah. Yeah, it's all in three, four. I did it this way. Just because I think these three different kinds of threes are so interesting. All right, so. And it's got this funky going into really A-flat major. So let's try it. And just gently, you know, you don't have to step. You can even just sway.

01:06:36:26 - 01:07:27:24
Unknown
But I want to keep this, this metric thing going. So one to go. Don't know me. Don't no harm is much. No, no, no harm in spot. No no no. This function does. No no no. This bottom part. Don't. Oh, no. God. God. Stop you. I'm sorry. Be sure that this suspension gets four whole can, so no jumps.

01:07:27:26 - 01:08:09:25
Unknown
But you really have to feel that three inside of you. Okay? Right on the pickup of the the the three four bar before the last jump. Bum bum. Go down. No, no. Oh. Means, church. Okay. Those octave leaps are such a bitch. Are they? No. This, But, you can think of it is, 52445.

01:08:09:25 - 01:08:38:05
Unknown
I think that might help. Try that again. Just. You've suspended this C52445. Sing that with me. 52445. Let me give this to an old friend.

01:08:38:07 - 01:09:14:28
Unknown
So good to see you. Okay, so let's do the pickup to the the the, the real challenges at the end here, because the rest of it is so much in our body. And because this is so such a change. But the metric system doesn't change. So the pickup to the last line, one to go. No, no, nobody's punching from the beginning.

01:09:15:00 - 01:09:44:07
Unknown
Donna, no harm in, I'm sorry, the beginning of the piece. That wasn't clear. I want the beginning. Yeah, we are staying in tune. Good for us. It's that A-flat in the second. In the second line that can can take us southward. But that's. We're managing not to do that. And I have to say it's partly across to the men who are singing in tune.

01:09:44:10 - 01:09:54:07
Unknown
One to you can't get away from them humming you're like a bumblebee. Well.

01:09:54:09 - 01:11:11:19
Unknown
Donna mahoney. How? No know. No, miss March. Donna. Nominee spot and on. Lobby spot. Donna. No. Punch. Punch. Donna nobis, please. Punch. One more time. Donna. No! Miss. What? Lighten up a little bit. Not miss much. Donna. No. Miss March. No. No, no. This watch. Donna. No. Miss punch and,

01:11:11:21 - 01:11:41:18
Unknown
No, no, no. Oh, this. Be very careful of the first note in the last line. Let's try it in two parts. And can I have the men on one side grouped together? You. You'll be joined by some women, but, yeah, geographically, just for the moment, let's let's just do it in two groups once, and then let's.

01:11:41:23 - 01:12:22:23
Unknown
We can start starting from the beginning. Oh, we'll have Kristen through Jackie as one group. Close enough. Oh, we're coming in just where it says we are line by line one and two. Just for the moment. And let's start with a son who's. One time. Donna. No, honey. No no no no. Please watch. Donna. Not for me.

01:12:22:23 - 01:13:17:04
Unknown
Spot. Donna. No! Me spot. Donna. No. Is for champ. Sure. Donna nobis. Child. No. No, no. Mr.. No no no no no for me. Swatch. Yeah. If we can sing it slightly softer, that will be great. Also, again, on the last line with those suspensions, if you can make just a little crescendo across the bar line, it's really nice.

01:13:17:04 - 01:13:52:11
Unknown
If we're starting like gangbusters, the crescendo will sound too much like Ethel Merman. Well, actually, she didn't crescendo well. She was just always loud, which is my point. So can we just again do the last line, in unison, and then we'll break into four parts, or we'll, we'll do it in four parts. So, mezzo piano with tiny little swells across the bar line one, two, three two Mobius.

01:13:52:14 - 01:14:21:09
Unknown
Oh, that's it, that's it. Okay, groove over the, What can I do? What can I do? He wrote it in this key group. 112345. Group 212345. Group 312345. Group four.

01:14:21:11 - 01:14:38:00
Unknown
And one two. Oh. Keep going. And by the way, if this goes pretty well I will start moving. And you will start moving with your own part.

01:14:38:03 - 01:14:53:10
Unknown
Body. Duh. So we can mix it up okay. Same same metric patterns in the feet.

01:14:53:12 - 01:16:07:19
Unknown
Okay. 123. Oh, no. This was, No no no it's not. No no no response. No no no. It's, tram. No no no means much going on. The whole miss part. Donna. No miss spot. No, no. This part. Chair. Donna love is part. Donna. No. No. Oh. No. Donna. Not this much.

01:16:07:22 - 01:17:22:01
Unknown
No. Novice punch up. Donna. No means part. Donna. No. This part. Donna. No. Is what you punch us. Donna. No. Oh, this part. No, no, no. This watch. Donna Norris part. Donna. No. This part. No no, no. This watch. Donna. No. This part. So, just see if you look up.

01:17:22:03 - 01:18:37:05
Unknown
Oh. This part. Sure. Donna know this portion? Donna. No, these are, Shut up. Donna. Homicide. Yeah. No, not. No. This part, No, no, no. This part. Jump. Chime. Donna. No no no no no. It's fine. No no no no no it is watching. Oh no no no. These are chat. Donna. No. This part. No.

01:18:37:05 - 01:19:18:05
Unknown
None. No. This part I don't know. Is this part time call? Chuck. Oh, no. No. Oh, Bill, this part, Oh, yeah. Oh, yeah.

01:19:18:07 - 01:19:49:12
Unknown
We did it five minutes early. Any questions about any of this? Now, this was this is an example of a very sophisticated use of the humor. Oh. But it is certainly a humor. You know, if you take the last measure and pin it on to the first measure, then it's not so unusual. It would be for measures of three, four or or.

01:19:49:13 - 01:20:10:20
Unknown
Yeah. And one measure of three two or the humor era. So in, in, in a sense that makes it seem not so strange, but we're not feeling it that way. We're really feeling it this other way. The other thing I wanted to say about the humor. Well, does anybody else want to say anything about this piece? Beautiful.

01:20:10:23 - 01:20:39:01
Unknown
It's a magnificent piece, isn't it? And those harmonies and what really, really makes it is that last line with those suspensions and the meal is underneath it. I mean, it's a real cathedral of, And if you want to stay with somebody in your group and gently clap, you could. Yeah, yeah, yeah, yeah, that's true. Although I'm not sure I'd want it at the end of that because it really does drives you to the next one.

01:20:39:08 - 01:21:04:10
Unknown
Yeah, I left it out a couple of times, and I realized now I wanted, yeah, I like singing and walking the beat and. Yes. Isn't that great being able to get your voice truly tuning to somebody else's voice while yet another part is coming in another ear? I do that a lot with my students. Even with, you know, with simple canons starting in second and third grade.

01:21:04:12 - 01:21:28:14
Unknown
And they, they really love that linguistically, the melodic rhythm, speeding up. I mean, we did it. Yeah, I'm sure there would be. I mean, you know, it's really this whole lesson was not about pattern at all. Rhythmic pattern. We didn't we didn't do the patterns of any of the stuff that we did. And that could certainly be done.

01:21:28:17 - 01:21:56:05
Unknown
But I really wanted to zero in, on, on, on these different kinds of beats and how they relate to each other. Just, just just so that, you know, the hymnal, often comes, often comes in baroque music, especially right before the final measure. So it's delivering it's delivering the you to the downbeat of the final measure.

01:21:56:05 - 01:22:26:09
Unknown
So it doesn't actually split up the way we did it for Edelweiss. 12345678. It splits up 1234, five, and then the six and the seventh become the hymnal so that you have one more, measure at the end. Or whatever, however long the phrase is, just so that it can be the present, the penultimate measure that delivers you and, just to get you in a totally different world.

01:22:26:11 - 01:22:54:14
Unknown
The, the first chorus from the Messiah and the glory, the glory of the Lord shall be revealed. So. And the glory, the glory of the Lord shall be revealed, led. And you'll find that all the way through, and it will be written with brackets in Baroque music to to see where the meal is. Yes, absolutely.

01:22:54:21 - 01:23:22:24
Unknown
Yes, absolutely. Yeah. A wonderful lesson with magical on him. You great idea. And you know, Ravel and Brahms and Bach and you know, anybody, I mean, it's just it's it's just one of the basic tools of a composer's palette to mix and metaphor. Really fun working with all of you. And I.

01:23:22:26 - 01:23:26:00
Unknown
And to me.

01:23:26:00 - 01:24:01:14