TEDSalon NY2011
Stefon Harris: There are no mistakes on the bandstand
Stefon Harris: non existen os erros no coreto
Filmed:
Readability: 3.1
769,694 views
Que é un erro? Explicándonolo a través de exemplos xunto co seu cuarteto de jazz, Stefon Harris guíanos cara unha gran verdade: moitas accións son percibidas coma erros só porque non sabemos reaccionar axeitadamente.
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.
0
0
3000
Non teño nin idea do que imos tocar.
00:18
I won't be able to tell you what it is until it happens.
1
3000
3000
Non lles poderei dicir qué é ata que aconteza.
00:21
I didn't realize there was going to be a little music before.
2
6000
3000
Non me decatara de que ía haber algo de música antes.
00:24
So I think I'm going to start with what I just heard.
3
9000
2000
Así que acho que vou comezar co que veño de escoitar.
00:26
(Music)
4
11000
10000
(música)
06:01
(Applause)
5
346000
9000
(aplausos)
06:10
Okay, so first of all,
6
355000
2000
Ben, antes de nada,
06:12
let's welcome Mr. Jamire Williams on the drums,
7
357000
3000
deámoselle a benvida a Jamire Williams na batería,
06:15
(Applause)
8
360000
3000
(aplausos)
06:18
Burniss Travis on the bass,
9
363000
2000
Burniss Travis no baixo,
06:20
(Applause)
10
365000
2000
(aplausos)
06:22
and Mr. Christian Sands on the piano.
11
367000
3000
e Christian Sands no piano.
06:25
(Applause)
12
370000
3000
(aplausos)
06:28
So the bandstand, as we call it,
13
373000
2000
O coreto, como o chamamos,
06:30
this is an incredible space.
14
375000
2000
é un espazo incríbel.
06:32
It is really a sacred space.
15
377000
2000
É un lugar sagrado.
06:34
And one of the things that is really sacred about it
16
379000
2000
E unha das cousas que o fan sagrado
06:36
is that you have no opportunity to think about the future,
17
381000
3000
é que non nos dá a oportunidade de pensar no futuro,
06:39
or the past.
18
384000
2000
ou no pasado.
06:41
You really are alive right here in this moment.
19
386000
2000
Realmente estás vivo neste momento.
06:43
There are so many decisions being made
20
388000
2000
Hai que tomar moitas decisións
06:45
when you walk on the bandstand.
21
390000
2000
cando un vai ao coreto.
06:47
We had no idea what key we were going to play in.
22
392000
3000
Non tiñamos nin idea do que iamos tocar.
06:50
In the middle, we sort of made our way
23
395000
2000
Polo medio, fixemos unha interpretación
06:52
into a song called "Titi Boom."
24
397000
2000
dunha canción chamada "Titi Boom".
06:54
But that could have happened -- maybe, maybe not.
25
399000
3000
Pero iso puido acontecer ou non.
06:57
Everyone's listening. We're responding.
26
402000
2000
Todos escoitan. Nós respondemos.
06:59
You have no time for projected ideas.
27
404000
2000
Non hai tempo para as ideas proxectadas.
07:01
So the idea of a mistake:
28
406000
3000
Entón, a idea dun erro:
07:04
From the perspective of a jazz musician,
29
409000
2000
dende a perspectiva dun músico de jazz,
07:06
it's easier to talk about someone else's mistake.
30
411000
3000
é máis doado falar sobre o erro doutra persoa.
07:11
So the way I perceive a mistake when I'm on the bandstand --
31
416000
3000
O xeito de como percibo un erro cando estou no coreto...
07:14
first of all, we don't really see it as a mistake.
32
419000
2000
antes de nada, non o vemos coma un erro.
07:16
The only mistake lies
33
421000
2000
O único erro xace
07:18
in that I'm not able to perceive
34
423000
2000
en que non son quen de percibir
07:20
what it is that someone else did.
35
425000
2000
que é o que outro fixo.
07:22
Every "mistake" is an opportunity in jazz.
36
427000
3000
Cada "erro" é unha oportunidade no jazz.
07:25
So it's hard to even describe
37
430000
2000
Mesmo é difícil describir
07:27
what a funny note would be.
38
432000
2000
o que sería unha nota divertida.
07:29
So for example, if I played a color, like we were playing on a palette,
39
434000
3000
Por exemplo, se pinto unha cor, coma se estiver xogando coa paleta,
07:32
that sounded like this ...
40
437000
2000
habería sonar coma isto...
07:34
(Music)
41
439000
2000
(música)
07:36
So if Christian played a note -- like play an F.
42
441000
3000
Se Christian toca unha nota... coma Fa.
07:39
(Music)
43
444000
2000
(música)
07:41
See, these are all right inside of the color palette.
44
446000
3000
Vedes, todo encaixa na paleta de cores.
07:44
If you played an E.
45
449000
3000
Se toca Mi.
07:47
See, these all lie right inside
46
452000
2000
Vedes, todo xace no interior
07:49
of this general emotional palette that we were painting.
47
454000
2000
desta paleta emocional xeral que estamos a pintar.
07:51
If you played an F# though,
48
456000
2000
Porén, se tocamos Fa #
07:53
(Dissonance)
49
458000
4000
(disonancia)
07:57
to most people's ears, they would perceive that as a mistake.
50
462000
3000
a maioría de oídos consideraríano un erro.
08:00
So I'm going to show you, we're going to play just for a second.
51
465000
2000
Ides ver, imos tocar un intre.
08:02
And we're going to play on this palette.
52
467000
2000
E imos tocar nesta paleta.
08:04
And at some point, Christian will introduce this note.
53
469000
2000
Nalgún momento, Christian ha engadir esta nota.
08:06
And we won't react to it.
54
471000
2000
E non imos reaccionar a ela.
08:08
He'll introduce it for a second
55
473000
2000
Vaina tocar durante un segundo
08:10
and then I'll stop, I'll talk for a second.
56
475000
2000
e logo voume deter e falarei un intre.
08:12
We'll see what happens when we play with this palette.
57
477000
2000
Imos ver que é o que acontece cando tocamos con esta paleta.
08:14
(Music)
58
479000
10000
(música)
08:39
So someone could conceptually perceive that as a mistake.
59
504000
4000
Conceptualmente, alguén podería percibilo coma un erro.
08:43
The only way that I would say it was a mistake
60
508000
2000
Eu só diría que se trata dun erro
08:45
is in that we didn't react to it.
61
510000
2000
se non reaccionásemos perante el.
08:47
It was an opportunity that was missed.
62
512000
2000
Unha oportunidade perdida.
08:49
So it's unpredictable. We'll paint this palette again.
63
514000
3000
Así que é impredecíbel. Imos pintar esta paleta outra vez.
08:52
He'll play it. I don't know how we'll react to it, but something will change.
64
517000
3000
El vai tocar. Non sei como imos reaccionar, pero algo ha trocar.
08:55
We'll all accept his ideas,
65
520000
2000
Imos aceptar as súas ideas,
08:57
or not.
66
522000
2000
ou non.
08:59
(Music)
67
524000
10000
(música)
10:08
So you see, he played this note.
68
593000
2000
Vistes, tocou a súa nota.
10:10
I ended up creating a melody out of it.
69
595000
2000
E eu creei unha melodía.
10:12
The texture changed in the drums this time.
70
597000
2000
Esta vez a textura cambiou na batería.
10:14
It got a little bit more rhythmic, a little bit more intense
71
599000
3000
Foi un pouco máis rítmico, un pouco máis intenso
10:17
in response to how I responded to it.
72
602000
2000
en función á miña resposta.
10:19
So there is no mistake.
73
604000
2000
Así que non hai erro.
10:21
The only mistake is if I'm not aware,
74
606000
2000
O único erro é se non son consciente,
10:23
if each individual musician is not aware
75
608000
2000
se cada músico non é consciente
10:25
and accepting enough of his fellow band member
76
610000
4000
e non recoñece aos seus compañeiros
10:29
to incorporate the idea and we don't allow for creativity.
77
614000
3000
para incorporar a idea e non imos permitir a creatividade.
10:32
So jazz, this bandstand is absolutely amazing.
78
617000
4000
Este coreto é verdadeiramente incríbel.
10:36
It's a very purifying experience.
79
621000
2000
É unha experiencia purificadora.
10:38
And I know that I speak for all of us when I tell you that we don't take it for granted.
80
623000
3000
E sei que falo por todos cando digo que non o damos por suposto.
10:41
We know that to be able to come on the bandstand and play music is a blessing.
81
626000
4000
Sabemos que ser capaz de subir ao coreto e facer música é unha bendición.
10:45
So how does this all relate to behavioral finance?
82
630000
3000
E que ten que ver isto coas finanzas?
10:48
Well we're jazz musicians,
83
633000
2000
Todos somos músicos de jazz,
10:50
so stereotypically we don't have a great relationship to finance.
84
635000
2000
o noso estereotipo non é o máis axeitado para as finanzas.
10:52
(Laughter)
85
637000
3000
(gargalladas)
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
86
640000
3000
Só lles quería amosar como é que o afrontamos.
10:58
And the other dynamic of it
87
643000
2000
E a outra dinámica
11:00
is that we don't micromanage in jazz.
88
645000
3000
é que non facemos microxestión no jazz.
11:03
You have some people who do.
89
648000
2000
Hai xente que o fai.
11:05
But what that does
90
650000
2000
Pero iso
11:07
is it actually limits the artistic possibilities.
91
652000
2000
limita as posibilidades artísticas.
11:09
If I come up and I dictate to the band
92
654000
3000
Se lle dicto á banda
11:12
that I want to play like this and I want the music to go this way,
93
657000
2000
que toquemos así e quero que sone así,
11:14
and I just jump right in ...
94
659000
2000
e digo de entrar en...
11:16
ready, just play some time.
95
661000
2000
veña, toquemos algo.
11:18
One, two, one, two, three, four.
96
663000
2000
Un, dous, un, dous, tres, catro.
11:20
(Music)
97
665000
12000
(música)
11:32
It's kind of chaotic because I'm bullying my ideas.
98
677000
2000
É un pouco caótico porque me bulen as ideas.
11:34
I'm telling them, "You come with me over this way."
99
679000
2000
Dígolles: "Acompañádeme por este lado".
11:36
If I really want the music to go there,
100
681000
2000
Se quero que a música vaia aí,
11:38
the best way for me to do it is to listen.
101
683000
2000
o mellor que podo facer é escoitar.
11:40
This is a science of listening.
102
685000
2000
É a ciencia do ouvido.
11:42
It has far more to do with what I can perceive
103
687000
2000
Ten máis que ver co que podo percibir
11:44
than what it is that I can do.
104
689000
2000
ca co que podo facer.
11:46
So if I want the music to get to a certain level of intensity,
105
691000
3000
Se quero que a música acade un certo nivel de intesidade,
11:49
the first step for me is
106
694000
2000
o primeiro paso para min
11:51
to be patient, to listen to what's going on
107
696000
2000
é ser paciente, escoitar o que acontece
11:53
and pull from something that's going on around me.
108
698000
3000
e recoller algo do que acontece ao meu redor.
11:56
When you do that, you engage and inspire the other musicians
109
701000
3000
Cando o fas, motivas e inspiras aos outros músicos
11:59
and they give you more, and gradually it builds.
110
704000
2000
e eles danche máis, e así se vai facendo.
12:01
Watch. One, two, a one, two, three, four.
111
706000
3000
Miren. Un, dous, un, dous, tres, catro.
12:04
(Music)
112
709000
10000
(música)
12:44
Totally different experience when I'm pulling ideas.
113
749000
3000
É algo totalmente distinto cando tiro das miñas ideas.
12:47
It's much more organic. It's much more nuanced.
114
752000
2000
É moito máis orgánico. Ten moitos máis matices.
12:49
It's not about bullying my vision or anything like that.
115
754000
2000
Non se trata de espallar a miña visión ni nada.
12:51
It's about being here in the moment,
116
756000
2000
Trata de estar no momento,
12:53
accepting one another
117
758000
2000
aceptármonos uns aos outros
12:55
and allowing creativity to flow.
118
760000
2000
e deixar que flúa a creatividade.
12:57
Thank you.
119
762000
2000
Grazas.
12:59
(Applause)
120
764000
5000
(aplausos)
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