TEDSalon NY2011
Stefon Harris: There are no mistakes on the bandstand
ستیفان هاریس: هیچ هه‌ڵه‌یه‌ك نیه له باندستاند
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چ شتێێك هه‌ڵه‌یه؟ به قسه‌كردن له‌سه‌رچه‌ند نمونه‌یه‌ك له‌گه‌ڵ گروپێكی چوار كه‌سی مۆسیقای جاز، ستیفان ده‌مانباته سه‌ر چه‌ند ڕاستیه‌كی كاریگه‌ر: زۆر ڕه‌فتار هه‌ن كه وه‌ك هه‌ڵه لێك ده‌درێنه‌وه ته‌نها به‌هۆی كاردانه‌وه‌ی نه‌شیاوی ئێمه .بۆ ئه‌م شتانه
Stefon Harris - Jazz vibraphonist
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio
Double-click the English transcript below to play the video.
00:15
Okay, I have no idea what we're going to play.
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باشه، هیچ بیرۆكه‌یه‌كم نیه
.كه چ دەژەنین
.كه چ دەژەنین
00:18
I won't be able to tell you what it is until it happens.
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ناتوانم پێتان بڵێم
.هه‌تا كاتێ ڕووده‌دات
.هه‌تا كاتێ ڕووده‌دات
00:21
I didn't realize there was going to be a little music before.
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نه‌م ده‌زانی هه‌ندێ مۆزیك لێده‌درێ
.پێش وه‌خت
.پێش وه‌خت
00:24
So I think I'm going to start with what I just heard.
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پێم وایه ده‌ست پێده‌كه‌م
.له‌گه‌ڵ ئه‌وه‌ی گوێم لێده‌بی
.له‌گه‌ڵ ئه‌وه‌ی گوێم لێده‌بی
00:26
(Music)
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(مۆزیك)
06:01
(Applause)
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(چه‌پڵه‌لێدان)
06:10
Okay, so first of all,
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،باشه، پێش هه‌موو شتێك
06:12
let's welcome Mr. Jamire Williams on the drums,
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با پێشوازی له به‌رێز جه‌مایر ولیامس
،بكه‌ین له‌گه‌ڵ دڕه‌مه‌كه‌ی
،بكه‌ین له‌گه‌ڵ دڕه‌مه‌كه‌ی
06:15
(Applause)
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(چه‌پڵه‌لێدان)
06:18
Burniss Travis on the bass,
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بێرنیس تراڤیز به ئامێركۆنتراباس
06:20
(Applause)
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(چه‌پڵه‌لێدان)
06:22
and Mr. Christian Sands on the piano.
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.به‌رێز كریستیان ساندز به ئامێری پیانۆ
06:25
(Applause)
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(چه‌پڵه‌لێدان)
06:28
So the bandstand, as we call it,
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،وه‌كو ئێمه پێی ده‌ڵێین باندستاند
06:30
this is an incredible space.
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.ئه‌مه بۆشایەکی سەڕسوڕهێنەرە
06:32
It is really a sacred space.
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.به‌ڕاستی ئه‌مه بۆشایه‌كی پیرۆزه
06:34
And one of the things that is really sacred about it
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یه‌كێك له‌و شتانه‌ی كه
به‌راستی پیرۆزه
به‌راستی پیرۆزه
06:36
is that you have no opportunity to think about the future,
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ئه‌وه‌یه كه تۆ هیچ چانسێكت نیه
،بیر له داهاتوو بكه‌یه‌وه
،بیر له داهاتوو بكه‌یه‌وه
06:39
or the past.
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.یان ڕابردووت
06:41
You really are alive right here in this moment.
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.تۆ به‌ڕاستی زیندویت له‌م ساته‌دا
06:43
There are so many decisions being made
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زۆر بڕیار دراون
.كه ده‌ڕۆی به‌ناو باندستاند
06:45
when you walk on the bandstand.
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06:47
We had no idea what key we were going to play in.
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ئێمه هیچ بیرۆكه‌یه‌كمان نیه
.له‌سه‌ر ئه‌و كلیلانه‌ی كه ده‌یژه‌نین
.له‌سه‌ر ئه‌و كلیلانه‌ی كه ده‌یژه‌نین
06:50
In the middle, we sort of made our way
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له ناوه‌ڕاستدا، ڕێكای خۆمان
دۆزیه‌وه
دۆزیه‌وه
06:52
into a song called "Titi Boom."
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له گۆرانیه‌ك به‌ناوی
'Titi Boom'
'Titi Boom'
06:54
But that could have happened -- maybe, maybe not.
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به‌ڵام له‌وانه‌یه ڕویدابا--
.له‌وانه‌یه، له‌وانه‌ش نیه
.له‌وانه‌یه، له‌وانه‌ش نیه
06:57
Everyone's listening. We're responding.
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.هه‌موو كه‌س گوێی ده‌گرت
.ئێمه‌ش وه‌ڵاممان هه‌بوو
.ئێمه‌ش وه‌ڵاممان هه‌بوو
06:59
You have no time for projected ideas.
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هیچ كاتمان نه‌بوو
.بۆپڕۆژه‌ی هزری
.بۆپڕۆژه‌ی هزری
07:01
So the idea of a mistake:
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:بۆیه بیرۆكه‌ی هه‌ڵه
07:04
From the perspective of a jazz musician,
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،له ڕوانگه‌ی مۆسیقارێكی جاز
07:06
it's easier to talk about someone else's mistake.
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.ئاسانتره قسه له‌سه‌رهه‌ڵەی كه‌سێك بكه‌ی
07:11
So the way I perceive a mistake when I'm on the bandstand --
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بۆیە کە هە ست بە هە ڵەیەک
--دەکەم کاتێکە لە باندستۆنم
--دەکەم کاتێکە لە باندستۆنم
07:14
first of all, we don't really see it as a mistake.
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پێش هەموو شتێ،
.ئێمە بەڕاستی وەک هەڵە نایبینین
.ئێمە بەڕاستی وەک هەڵە نایبینین
07:16
The only mistake lies
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تاكه هه‌ڵه‌یه‌ك هه‌یه
07:18
in that I'm not able to perceive
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لێره ئه‌ویش كه من ناتوانم دركی پێبكه‌م
07:20
what it is that someone else did.
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.كه كه‌سێكی تر ده‌توانی
07:22
Every "mistake" is an opportunity in jazz.
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.هه‌موو "هه‌ڵه‌یه‌ك" هه‌لێكه له جازدا
07:25
So it's hard to even describe
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بۆیه ته‌نانه‌ت قوڕسه وه‌سف بكرێ
07:27
what a funny note would be.
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.تێبینینه‌كی زۆر پێكه‌نیناویه ده‌بێت
07:29
So for example, if I played a color, like we were playing on a palette,
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،بۆ نمونه، گه‌ر به ڕه‌نگ یاریم كردایه
،وه‌ك ئه‌وه‌ی له‌سه‌ر پالێت ده‌مان ده‌كرد
،وه‌ك ئه‌وه‌ی له‌سه‌ر پالێت ده‌مان ده‌كرد
07:32
that sounded like this ...
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07:34
(Music)
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-ده‌نگی وه‌كو ئه‌مه بوو
(مۆزیك)
07:36
So if Christian played a note -- like play an F.
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--ئه‌گه‌ر كریستیان نۆته‌یه‌ك بژه‌نێ
.وه‌ك ژه‌نینی ف
.وه‌ك ژه‌نینی ف
07:39
(Music)
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(مۆزیك)
07:41
See, these are all right inside of the color palette.
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سه‌یركه، ئه‌وانه هه‌مووی باشن
.له ناو پالێتی ڕه‌نگه‌كان
.له ناو پالێتی ڕه‌نگه‌كان
07:44
If you played an E.
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.ئه‌گه‌ر ئی بژه‌نی
07:47
See, these all lie right inside
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ته‌ماشاكه هه‌مووی درێژ ده‌بێته‌وه
07:49
of this general emotional palette that we were painting.
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له‌م پالێته سۆزداره گشتیه
.كه ڕه‌نگمان ده‌كرد
.كه ڕه‌نگمان ده‌كرد
07:51
If you played an F# though,
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،گه‌ر ف# بژه‌نی
07:53
(Dissonance)
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(نەشاز)
07:57
to most people's ears, they would perceive that as a mistake.
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،بۆ گوێی زۆرینه‌تان
.هه‌ست ده‌كه‌ن هه‌ڵه‌یه
.هه‌ست ده‌كه‌ن هه‌ڵه‌یه
08:00
So I'm going to show you, we're going to play just for a second.
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بۆیه نیشانتان ده‌ده‌م، بۆ چركه‌یك
.ده‌یژه‌نین
.ده‌یژه‌نین
08:02
And we're going to play on this palette.
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.له‌م پالێته ده‌یژه‌نین
08:04
And at some point, Christian will introduce this note.
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له‌م خاڵه‌دا، كریستیان
.ئه‌م نۆته‌تان پێده‌ناسێنێ
.ئه‌م نۆته‌تان پێده‌ناسێنێ
08:06
And we won't react to it.
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وه ئێمه هیچ كاردانه‌وه‌یه‌كمان
.بۆی نابێت
.بۆی نابێت
08:08
He'll introduce it for a second
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ئه‌و ده‌یناسێنێت له چركه‌یه‌كدا
08:10
and then I'll stop, I'll talk for a second.
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ئینجا من ده‌وه‌ستم،
.چركه‌یه‌ك قسان ده‌كه‌م
.چركه‌یه‌ك قسان ده‌كه‌م
08:12
We'll see what happens when we play with this palette.
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باببینین چی ڕووده‌دات
.كه ئه‌م پالێته ده‌ژه‌نین
.كه ئه‌م پالێته ده‌ژه‌نین
08:14
(Music)
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(مۆزیك)
08:39
So someone could conceptually perceive that as a mistake.
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ڕه‌نگه كه‌سێك وه‌های
.لێك بداته‌وه كه هه‌ڵه‌یه
.لێك بداته‌وه كه هه‌ڵه‌یه
08:43
The only way that I would say it was a mistake
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تاكه ڕێگایه‌ك كه
من به هه‌ڵه‌ی بزانم
من به هه‌ڵه‌ی بزانم
08:45
is in that we didn't react to it.
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.ئه‌وه‌یه هیچ كاردانه‌وه‌یه‌كمان نه‌بوو
08:47
It was an opportunity that was missed.
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ئه‌مه هه‌لێكبوو كه
.له ده‌ستمان چوو
.له ده‌ستمان چوو
08:49
So it's unpredictable. We'll paint this palette again.
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.ئه‌مه پێشبینی كراو نه‌بوو
.دووباره پالاته‌كه ڕه‌نگ ده‌كه‌ین
.دووباره پالاته‌كه ڕه‌نگ ده‌كه‌ین
08:52
He'll play it. I don't know how we'll react to it, but something will change.
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ئه‌و ده‌یژه‌نێ. نازانم كاردانه‌وه‌مان
.چی ده‌بێت به‌ڵام ده‌گۆڕێ
.چی ده‌بێت به‌ڵام ده‌گۆڕێ
08:55
We'll all accept his ideas,
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،بیرۆكه‌كه‌ی قبوڵ ده‌كه‌ین
08:57
or not.
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.یان نایكه‌ین
08:59
(Music)
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(مۆزیك)
10:08
So you see, he played this note.
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.دەبینیت كه نۆته‌كه‌ی ژه‌نی
10:10
I ended up creating a melody out of it.
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كۆتایی پێهێنا به
.دروست كردنی میلۆدیه‌ك
.دروست كردنی میلۆدیه‌ك
10:12
The texture changed in the drums this time.
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ئه‌م جاره پێكهاته‌كه‌ی
.دڕه‌مه‌كه گۆڕا
.دڕه‌مه‌كه گۆڕا
10:14
It got a little bit more rhythmic, a little bit more intense
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،كه‌مێك ئاوازدارتر بوو
كه‌مێ كاریگه‌رتر بوو
كه‌مێ كاریگه‌رتر بوو
10:17
in response to how I responded to it.
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.له وه‌ڵامی كاردانه‌وه‌ی ئێمه
10:19
So there is no mistake.
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.هیچ هه‌ڵه‌یه‌ك نیه
تاكه هه‌ڵه‌یه‌ك ئه‌وه‌یه
،كه ئاگه‌دارنیم
،كه ئاگه‌دارنیم
10:21
The only mistake is if I'm not aware,
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10:23
if each individual musician is not aware
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گه‌ر هیچ تاكێكی
مۆزیك ژه‌ن ئاگه‌دارنه‌بێ
مۆزیك ژه‌ن ئاگه‌دارنه‌بێ
10:25
and accepting enough of his fellow band member
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وه قبوڵ بكرێ له‌لایه‌ن
ئه‌ندامانی باند
ئه‌ندامانی باند
10:29
to incorporate the idea and we don't allow for creativity.
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بۆ به‌رجه‌سته كردنی بیرۆكه‌كه و
.ئێمه ڕێگا به داهێنان ناده‌ین
.ئێمه ڕێگا به داهێنان ناده‌ین
10:32
So jazz, this bandstand is absolutely amazing.
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.بۆیه جاز، ئه‌م باندستانده زۆر نایابه
10:36
It's a very purifying experience.
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.ئه‌مه ئه‌زموونی گه‌لێكی پاكه
10:38
And I know that I speak for all of us when I tell you that we don't take it for granted.
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وه ده‌زانم قسه بۆ هه‌مووان
.ده‌كه‌م كه ده‌ڵێم كه مانای نازانین
.ده‌كه‌م كه ده‌ڵێم كه مانای نازانین
10:41
We know that to be able to come on the bandstand and play music is a blessing.
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ده‌زانین نیعمه‌ته بێیته ناو
.باندستاند و مۆزیك بژه‌نی
.باندستاند و مۆزیك بژه‌نی
10:45
So how does this all relate to behavioral finance?
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هه‌موو ئه‌مانه چۆن كار
هه‌ڵسوكه‌وتی ئابوریت ده‌كا؟
هه‌ڵسوكه‌وتی ئابوریت ده‌كا؟
10:48
Well we're jazz musicians,
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،ئێمه جاز ده‌ژه‌نین
10:50
so stereotypically we don't have a great relationship to finance.
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وه‌ك ستریۆتایپێك په‌یوه‌ندیه‌كی
.باشمان نیه له‌گه‌ڵ ئابووری
.باشمان نیه له‌گه‌ڵ ئابووری
10:52
(Laughter)
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(پێكه‌نین)
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
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به‌هه‌رحاڵ ته‌نها ده‌مویست پێتان
.بلێم كه چۆن چاره‌ی ده‌كه‌ین
.بلێم كه چۆن چاره‌ی ده‌كه‌ین
10:58
And the other dynamic of it
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وه هه‌ندێ ورده‌كاری تر
11:00
is that we don't micromanage in jazz.
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.كه له جازدا باش كۆنترۆڵ كراوه
11:03
You have some people who do.
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.هه‌ندێ خه‌ڵكت هه‌یه كه ئه‌مه ده‌كه‌ن
11:05
But what that does
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به‌ڵام ئه‌مه‌ی ده‌یكات
له ڕاستیدا شیمانه‌ی هونه‌ری
.سنوردار ده‌كات
.سنوردار ده‌كات
11:07
is it actually limits the artistic possibilities.
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11:09
If I come up and I dictate to the band
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گه‌ر من باسم كرد و
سه‌پاندم به‌سه‌ر بانده‌كه
سه‌پاندم به‌سه‌ر بانده‌كه
11:12
that I want to play like this and I want the music to go this way,
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ده‌مه‌وێت وا بژه‌نم و
،مۆزیك به‌م شێوه‌یه بێت
،مۆزیك به‌م شێوه‌یه بێت
11:14
and I just jump right in ...
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---ڕاسته‌وخۆ بازبده‌مه ناوی
11:16
ready, just play some time.
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.ئاماده‌ن، هه‌ندێ جار بیژه‌نی
11:18
One, two, one, two, three, four.
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.یه‌ك، دوو، یه‌ك، دوو، سێ، چوار
11:20
(Music)
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(مۆزیك)
11:32
It's kind of chaotic because I'm bullying my ideas.
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ئه‌مه جۆرێكه له ئاژاوه‌گێری
.چونكه ته‌نگ به بیرۆكه‌كانم هه‌ڵده‌چنم
.چونكه ته‌نگ به بیرۆكه‌كانم هه‌ڵده‌چنم
11:34
I'm telling them, "You come with me over this way."
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پێیان ده‌ڵێم، "له‌گه‌ڵم
"وه‌ره بۆ ئه‌م ڕێگایه
"وه‌ره بۆ ئه‌م ڕێگایه
11:36
If I really want the music to go there,
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گه‌ر به‌ڕاستی من بمه‌وێت
،مۆزیك بڕواته ئه‌وێ
،مۆزیك بڕواته ئه‌وێ
11:38
the best way for me to do it is to listen.
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.باشترین ڕێگا ئه‌وه‌یه گوێ بگرم
11:40
This is a science of listening.
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.ئه‌مه زانستی گوێگرتنە
11:42
It has far more to do with what I can perceive
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ئه‌مه زیاتره له‌وه‌ی
.من دركی پێ ده‌كه‌م
.من دركی پێ ده‌كه‌م
11:44
than what it is that I can do.
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.زیاتر له‌وه‌ی كه ده‌توانم بیكه‌م
11:46
So if I want the music to get to a certain level of intensity,
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بۆیه گه‌ر بمه‌وێت مۆزیك
،بگاته ئاستێكی به‌هێز
،بگاته ئاستێكی به‌هێز
11:49
the first step for me is
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یه‌كه‌م هه‌نگاو ئه‌وه‌یه
11:51
to be patient, to listen to what's going on
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ئارام بگرم، و گوێ بگرم له‌وه‌ی ڕوده‌دات
11:53
and pull from something that's going on around me.
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.هه‌ندێ شت ڕابكێشم له‌وانه‌ی ده‌وروبه‌رم
11:56
When you do that, you engage and inspire the other musicians
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كاتێ ئه‌وه‌دەكه‌یت
سه‌رقاڵ ده‌بی و هانی ئه‌وانی تر ده‌ده‌ی
سه‌رقاڵ ده‌بی و هانی ئه‌وانی تر ده‌ده‌ی
11:59
and they give you more, and gradually it builds.
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،ئه‌وانیش زیاتر ده‌به‌خشن
.ورده ورده بنیات ده‌نرێت
.ورده ورده بنیات ده‌نرێت
12:01
Watch. One, two, a one, two, three, four.
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.سه‌یركه. یه‌ك، دوو، یه‌ك، دوو، سێ، چوار
12:04
(Music)
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(مۆزیك)
12:44
Totally different experience when I'm pulling ideas.
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به‌ته‌واوی ئه‌زمونێكی جیایه
،كاتێ بیرۆكه وه‌رده‌گرم
،كاتێ بیرۆكه وه‌رده‌گرم
12:47
It's much more organic. It's much more nuanced.
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زیاتر په‌یوه‌ندی داره
.زیاتر ورده
.زیاتر ورده
12:49
It's not about bullying my vision or anything like that.
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گێچه‌ڵ به بینینی خۆم ناكه‌م
.یان شتێكی له‌و بابه‌ته
.یان شتێكی له‌و بابه‌ته
12:51
It's about being here in the moment,
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ئه‌مه په‌یوه‌ندی به
،وجودمان هه‌یه له‌م ساته‌دا
،وجودمان هه‌یه له‌م ساته‌دا
12:53
accepting one another
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قبوڵ كردنی یه‌كتر
12:55
and allowing creativity to flow.
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.وه ڕێگا به داهێنانه‌كان بده‌ین
12:57
Thank you.
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.سوپاستان ده‌كه‌م
12:59
(Applause)
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(چه‌پڵه‌لێدان)
ABOUT THE SPEAKER
Stefon Harris - Jazz vibraphonistStefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration.
Why you should listen
Stefon Harris' passionate artistry, energetic stage presence, and astonishing virtuosity have propelled him into the forefront of hte current jazz scene. Widely recognized and lauded by both his peers and jazz critics, Harris is committed to exploring the rich potential of jazz composition and blazing trails on the vibraphone.
His TEDTalk was performed with Jamire Williams on drums, Burniss Travis on bass, and Christian Sands on piano.
Stefon Harris | Speaker | TED.com