I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning.
Ez nago oso ziur danbor bat ikusi nahi izateaz goikeko 9etan. (barreak)
(Laughter)
Hala ere, harrigarria da aretoa hain betea ikustea
But anyway, it's just great to see such a full theater, and really, I must thank Herbie Hancock and his colleagues for such a great presentation.
eta benetan eskertu behar ditut Herbie Hancock eta bere lagunak aurkezpen honengatik. Gauzarik interesgarrienetako bat,
(Applause)
One of the interesting things, of course, is the combination of that raw hand on the instrument and technology, and what he said about listening to our young people.
jakina, instrumentuan duen esku zuzen hori, teknologia eta, noski, gazteei entzuteaz esan zuenaren nahasketa da. Nire lana entzutean datza, noski,
Of course, my job is all about listening. And my aim, really, is to teach the world to listen. That's my only real aim in life. And it sounds quite simple, but actually, it's quite a big, big job. Because you know, when you look at a piece of music, for example, if I just open my little motorbike bag -- we have here, hopefully, a piece of music that is full of little black dots on the page. And, you know, we open it up ... And I read the music. So technically, I can actually read this. I will follow the instructions, the tempo markings, the dynamics. I will do exactly as I'm told. And so therefore, because time is short, if I just played you, literally, the first, maybe, two lines or so -- It's very straightforward; there's nothing too difficult about the piece. But here, I'm being told that the piece of music is very quick. I'm being told where to play on the drum. I'm being told which part of the stick to use. And I'm being told the dynamic. And I'm also being told that the drum is without snares. Snares on, snares off. So therefore, if I translate this piece of music, we have this idea.
eta nire helburua, izatez, jendeari entzuten irakastea da. Hori da nire egiazko helburu bakarra bizitzan. Eta oso erraza dirudi, baina benetan lan oso oso handia da. Zuek badakizuelako, musika pieza bat begiratzen denean -adibidez, nire poltxatxoa irekitzen badut- hemen dugu, espero dut, musika zati bat, orria puntutxo beltzez betetzen duena. Badakizue, irekitzen dut eta musika irakurtzen dut. Beraz, teknikoki hau irakur dezaket. Argibideak segituko ditut: denbora argibideak, dinamikak. Zehatz-mehatz egingo dut esten didana. Eta honela, motza denez, lehenengo bi lerroak joko ditut gutxi gora behera. Oso erraza da. Ez dago gauza zailegirik. Baina esaten dit oso azkarra dela. Danborraren zein tokitan jo behar dudan esaten dit. Makilaren zein parterekin jo behar dudan esaten dit. Dinamika esaten dit Eta esaten dit danborrak ez duela bordoirik. Bordoia jarrita, bordoia kenduta. Beraz, musika zati hau itzultzen badut ideia hau izango dugu.
(Drum sounds)
(Drum sounds end)
Eta horrela. Nire karrerak 5 urte iraungo zituen. (barreak)
And so on. My career would probably last about five years.
(Laughter)
Hala ere, musikari bezala egin behar dudana partituran agertzen ez dena egitea da.
However, what I have to do as a musician is do everything that is not on the music; everything that there isn't time to learn from a teacher, or to talk about, even, from a teacher. But it's the things you notice when you're not actually with your instrument that, in fact, become so interesting, and that you want to explore through this tiny, tiny surface of a drum. So there, we experience the translation. Now we'll experience the interpretation.
Irakasle batengandik ikasteko aukera ez dagoen guzti hori, edo irakaslearekin komentatu gabe geratzen diren aspektu horiek.. Baina gauza horiek dira, hain zuzen, instrumentuarekin ez zaudenean nabaritzen direnak, hain interesgarriak bihurtzen direnak aztertu nahi ditugula danborraren gainazal txiki horretatik. Ongi da: itzulpena ikusi dugu. Orain ikus dezagun interpretazioa.
(Drum sounds)
(Drum sounds end)
(Applause)
Orain nire karrerak zertxobait gehiago iraungo du! (barreak)
Now my career may last a little longer.
(Laughter)
Baina modu batera berdina da begiratu eta
But in a way, you know, it's the same if I look at you and I see a nice, bright young lady with a pink top on. I see that you're clutching a teddy bear, etc., etc. So I get a basic idea as to what you might be about, what you might like, what you might do as a profession, etc., etc. However, that's just the initial idea I may have that we all get when we actually look and we try to interpret. But actually it's so unbelievably shallow. In the same way, I look at the music; I get a basic idea; I wonder what technically might be hard, or, you know, what I want to do. Just the basic feeling.
gazte bat ikusten badut blusa arrosarekin. Panpinazko hartz bat duela eskutartean, etab, etab. Horrela, nolakoa den, ideia bat jasotzen dut, zer gauza gustatu zaizkiokeen, zein den bere lanbidea igarri, etab, etab. Hala ere, ideia hau hasierako ideia bat baino ez da, denok duguna begiratzen dugunean. Eta interpretatzen ahalegintzen gara, baina hain azalekoa da... Era berean, partitura begiratzen dut, oinarrizko ideia bat dut, neure buruari galdetzen diot zer izan daitekeen teknikoki zaila, edo zer da egin nahi dudan lehenengo gauza. Oinarrizko sentsazioa bakarrik.
However, that is simply not enough. And I think what Herbie said: please listen, listen. We have to listen to ourselves, first of all. If I play, for example, holding the stick -- where literally I do not let go of the stick --
Hala ere, hau bakarrik ez da nahikoa. Eta Herbiek esan zuena gogora dakart - mezedez, entzun ezazue, entzun ezazue. Entzun egin behar dugu, geure buruari lehenengo. Adibidez, makila heltzen jotzen badut - makila literalki soltatu gabe -
(Drum sound)
you'll experience quite a lot of shock coming up through the arm. And you feel really quite -- believe it or not -- detached from the instrument and from the stick, even though I'm actually holding the stick quite tightly.
dardara asko sentituko ditut besotik gora. Eta sentitzen nahiz - sinistu ala ez-, oso harrituta, instrumentuarengan eta makilarengan, oso sendoki heltzen ari naizen arren.
(Drum sound)
By holding it tightly, I feel strangely more detached. If I just simply let go and allow my hand, my arm, to be more of a support system, suddenly --
Gogor heltzen, instrumentutik urrunago sentitzen nahiz era arraroan. Baina nire eskua eta besoa askatzen baditut eta usten badiet euskarri sistema bat izaten, bapatean dinamika gehiago daukat esfortzu txikiagorekin. Askoz gehiago.
(Drum sound)
I have more dynamic with less effort. Much more --
(Drum sound)
Eta azkenean sentitzen dut batera nabilela makilarekin eta danborrarekin.
and I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
Eta azkoz gutxiago egiten ari nahiz. Beraz, instrumentu honekin denbora behar dudan moduan,
So in the same way that I need time with this instrument, I need time with people in order to interpret them. Not just translate them, but interpret them. If, for example, I play just a few bars of a piece of music for which I think of myself as a technician -- that is, someone who is basically a percussion player --
denbora behar dut pertsonak interptretatzeko. Ez itzultzea bakarrik, baita interptretatzea ere. Adibidez, musika zati baten konpas batzuk jotzen baditut neure burua tekniko bezala hartzen dut soilik, hau da, perkusioa jotzen duen norbait...
(Marimba sounds)
(Marimba sounds end)
eta honela. Musikaritzat hartzen badut neure burua...
And so on, if I think of myself as a musician --
(Marimba sounds)
(Marimba sounds end)
And so on. There is a little bit of a difference there that is worth just --
eta honela. Diferetzia xume bat badago (barreak)
(Applause)
pentsatzea merezi duena. (txaloak)
thinking about.
And I remember when I was 12 years old, and I started playing timpani and percussion, and my teacher said, "Well, how are we going to do this? You know, music is about listening." And I said, "Yes, I agree with that, so what's the problem?" And he said, "Well, how are you going to hear this? How are you going to hear that?" And I said, "Well, how do you hear it?" He said, "Well, I think I hear it through here." And I said, "Well, I think I do too, but I also hear it through my hands, through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
Eta gogoratzen dut, 12 urte nintuenean eta tinbalak eta perkusioa jotzen hasi nintzen, eta nire irakasleak esan zuen: "Beno, nola egingo dugu hau? Badakizu, musika, entzutean datza." "Bai, ados nago. Beraz, non dago arazoa? Eta berak esan zidan: "Beno, nola etzungo duzu hau? Nola entzungo duzu beste hori?" Eta nik esan nuen: "Nola entzuten duzu zuk?" Berak esan zuen: "Uste dut hemendik entzuten dudala." Eta nik esan nuen: "Beno, baita nik ere, uste dut. Baina horretaz aparte nire eskuekin entzuten dut, nire besoekin, masailekin, ilearekin, nire triparekin, nire bularraldearekin, hankekin, etab."
And so we began our lessons every single time tuning drums, in particular, the kettle drums, or timpani to such a narrow pitch interval, so something like --
Klase bakoitza danborrak afinatzen hasten genuen -bereziki tinbalak- interbalo txiki baten, honen antzerako...
(Marimba sounds)
that of a difference. Then gradually:
diferentzia txikiekin. Gero gradualki... eta gradualki...
(Marimba sounds)
And gradually:
(Marimba sounds)
eta harrigarria da zeure gorputza irekitzen duzunean
And it's amazing that when you do open your body up, and open your hand up to allow the vibration to come through, that in fact the tiny, tiny difference --
eta zeure eskuak dardarak sentitzeko, izatez, diferentzia txiki hori...
(Marimba sounds)
zeure hatzaren parterik txikienarekin sentitu daiteke, hortxe.
can be felt with just the tiniest part of your finger, there.
Beraz nik nire eskuak musika aretoaren paretaren kontra
And so what we would do is that I would put my hands on the wall of the music room, and together, we would "listen" to the sounds of the instruments, and really try to connect with those sounds far, far more broadly than simply depending on the ear. Because of course, the ear is subject to all sorts of things. The room we happen to be in, the amplification, the quality of the instrument, the type of sticks --
jartzen nituen, eta elkarrekin "entzun egiten genituen" instrumentuen soinuak, eta benetan soinuetan arreta jartzen saiatzen ginen belarriaz bakarrik baliatuko bagina baino era askoz zabalagoan. Belarria gauza askorekin alda daiteke, noski. Aretoa, anplifikazioa, instrumentuaren kalitatea, makil mota, etab. etab.
(Marimba sounds)
(Marimba sounds end)
Etc., etc., they're all different.
Denak ezberdinak dira.
(Marimba sounds)
(Marimba sounds end)
Pisu berdina baina soinu mota ezberdina.
Same amount of weight, but different sound colors. And that's basically what we are; we're just human beings, but we all have our own little sound colors, as it were, that make up these extraordinary personalities and characters and interests and things.
Eta hori da funtsean garena. Gizakiak gara, baina denok daukagu geure "soinu kolorea", horrela esateagatik, izakera harrigarri hauek egiten dituena, izakerak, zaletazunak, etab.
And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, "Well, no, we won't accept you, because we haven't a clue, you know, of the future of a so-called 'deaf musician.'" And I just couldn't quite accept that. And so therefore, I said to them, "Well, look, if you refuse -- if you refuse me through those reasons, as opposed to the ability to perform and to understand and love the art of creating sound -- then we have to think very, very hard about the people you do actually accept." And as a result, once we got over a little hurdle, and having to audition twice, they accepted me. And not only that, what had happened was that it changed the whole role of the music institutions throughout the United Kingdom.
Hazi nintzenean, Londoneko Royal Academy of Music-en zartzeko audizioak egin nituen eta zera ezan zidaten: "Beno, ez, ez zaitugu onartzen ez dugulako ideiarik musikari 'gor' baten etorkizuna zein izan daitekeen." Eta nik ezin nuen hori onartu. Beraz esan nien: "Beno, ikusi, ezetz esaten badidazue, arrazoi horiengatik ez banauzue onartzen, --soinuen artea interpretatu, ulertu eta maitatzeko gaitasunari kontra eginez-- orduan, nor onartzen duzuen oso oso sakonki aztertu beharko dugu." Eta ondorioz, -behin arazo hau gainditu nuenean eta bigarren audizioa izan ondoren-- onartu egin ninduten. Eta ez hori bakarrik: gertatu zenak guztiz aldatu zuen Erresuma Batuko musika instituzioen rola.
Under no circumstances were they to refuse any application whatsoever on the basis of whether someone had no arms, no legs -- they could still perhaps play a wind instrument if it was supported on a stand. No circumstances at all were used to refuse any entry. And every single entry had to be listened to, experienced, and then, based on the musical ability, then that person could either enter or not. And so therefore, this in turn meant that there was an extremely interesting bunch of students who arrived in these various music institutions, and I have to say, many of them now in the professional orchestras throughout the world. The interesting thing about this as well, though --
Inoiz ez zuten sarrera eskari bat gaitzetsiko norbaitek besorik edo hankarik ez zuelako. Agian, haizezko musika trensna bat jo ahal izateko euskarri batetan jarri beharko zen instrumentu. Zirkunstatzia bat ere ezingo da erabili sarrera eskari bat errefusatzeko. Eta eskari bakoitza entzun eta frogatu beharko da, eta gero, musika gaitasuneri begira, pertsona onartu edo ez. Honek, ikasle talde interesgarri bat musika instituzio hauetara ailegatzea egin zuen. Eta esan behara dago horietako asko, gaur egun, munduko orkestra profesionaletan ari direla jotzen. Honen gauza interesgarria da, nahiz eta...- (txaloak)-
(Applause)
is quite simply that not only were people connected with sound -- which is basically all of us -- we well know that music really is our daily medicine.
jende hau ez dagoela soilik soinuari lotuta, -gutako gehienok bezala- musika gure eguneroko botika da. Musika esaten dut baina soinuaz ari nahiz.
I say "music," but actually I mean "sound." Because some of the extraordinary things I've experienced as a musician -- when you may have a 15-year-old lad who has got the most incredible challenges, who may not be able to control his movements, who may be deaf, who may be blind, etc., etc. -- suddenly, if that young lad sits close to this instrument, and perhaps even lies underneath the marimba, and you play something that's so incredibly organ-like, almost -- I don't really have the right sticks, perhaps -- but something like this -- let me change --
Badakizue? Musikari bezala hainbat gauza harrigarri ezagutu ditut: 15 urteko mutiko bat izan dezakezu, erronka handiak gainditu behar dituena, agian bere mugimenduak ezin dituena kontrolatu, agian gorra dena edo itsua dena, etab., etab. Bat batean, gazte hori instrumentutik gertu eseritzen bada, eta marinba baten azpian etzaten bada ere, eta organoaren oso antzerako zerbait jotzen badiozu, -ez dut makil egokirik- baina honelako zerbait. Utz ezadazue aldatzen.
(Soft marimba sounds)
(Soft marimba sounds end)
Something that's so unbelievably simple -- but he would be experiencing something that I wouldn't be, because I'm on top of the sound. I have the sound coming this way. He would have the sound coming through the resonators. If there were no resonators on here, we would have:
Oso sinplea den zerbait... baina berak nik sentituko ez nuen zerbait sentituko luke ni soinuaren gainean nagoelako. Niri soinua alde honetatik ailegatzen zait. Berari erresonatzaileen bitartez ailegatuko litzaioke. Erresonatzailerik ez balego hemen hau izango genuke...
(Marimba sounds)
So he would have a fullness of sound that those of you in the front few rows wouldn't experience, those of you in the back few rows wouldn't experience, either. Every single one of us, depending on where we're sitting, will experience this sound quite, quite differently. And of course, being the participator of the sound, and that is, starting from the idea of what type of sound I want to produce, for example, this sound:
beraz hemen dagoen soinua, lehenengo iladetan zaudetenak ezin izango zenuten modu batera sentituko luke. Atzean zaudetenak ere ezingo zenuten sentitu. Gutako bakoitzak, eserita dagoen lekuaren arabera, soinu hau era desberdinean sentitzen du. Eta, noski, soinu honen parte hartzaile izanda, eta hau zein soinu mota egin nahi dudan jakinda abiatuta- adibidez, soinu hau.
(No sound)
Can you hear anything? Exactly -- because I'm not even touching it.
Zerbait entzun dezakezue? Horixe da, ez nagoelako ukitzen ere.
(Laughter)
Baina, hala ere, zerbait gertatzen ari dela antzeman dezakegu.
But yet, we get the sensation of something happening. In the same way that when I see a tree moves, then I imagine that tree making a rustling sound. Do you see what I mean? Whatever the eye sees, then there's always sound happening. So there's always, always that huge -- I mean, just this kaleidoscope of things to draw from.
Zuhaitzak mugitzen ikusten ditudanean bezala eta imajinatzen dut zuhaitza soinu xuxurlaria egiten. Ikusten zer esan nahi dudan? Ikus dezakegun edozein gauzari lotuta beti dago soinu bat. Beraz beti dago kaleidoskopio handi bat nondik gauzak atera ditzazkegun.
So all of my performances are based on entirely what I experience, and not by learning a piece of music, putting on someone else's interpretation of it, buying all the CDs possible of that particular piece of music, and so on and so forth, because that isn't giving me enough of something that is so raw and so basic, and something that I can fully experience the journey of. So it may be that, in certain halls, this dynamic may well work.
Honela nire ekitaldi guztiak nik sentitzen dudanean oinarrituta daude guztiz, eta ez musika zati bat ikastean bakarrik, edo beste edozeinen interptretazioa erreproduzitzean, edo musika zati hori azaltzen den CD guztaik analizatuz soinuen bila. Horrek ez zidalako emango hain oinarrizko materiala nik ibilbide guztia sentitu ahal izateko. Beraz, izan daiteke areto batzuetan dinamika hau erabili ahal daitekela.
(Soft marimba sounds)
(Soft marimba sounds end)
Izan liteke beste aretotan ezinezkoa izatea hau sentitzea
It may be that in other halls, they're simply not going to experience that at all, and so therefore, my level of soft, gentle playing may have to be --
eta orduan nire leuntasun maila jotzerako orduan izan beharko luke...
(Marimba sounds)
(Marimba sounds end)
Do you see what I mean? So, because of this explosion in access to sound, especially through the Deaf community, this has not only affected how music institutions, how schools for the deaf treat sound, and not just as a means of therapy -- although, of course, being a participator of music, that definitely is the case as well -- but it's meant that acousticians have had to really think about the types of halls they put together. There are so few halls in this world that actually have very good acoustics, dare I say. But by that I mean, where you can absolutely do anything you imagine. The tiniest, softest, softest sound to something that is so broad, so huge, so incredible. There's always something: it may sound good up there, may not be so good there; it may be great there, but terrible up there; maybe terrible over there, but not too bad there, etc., etc.
Ikusten zer esan nahi dudan? Beraz, soinuaren sarbide eztanda honetan, bereziki pertsona gorren artean, honek ez du musika instituzioak eta gorrentzako musika eskolak soinua tratatzeko duten era aldatu bakarrik. Eta ez bakarrik terapia bezala, baina noski, musika partaide bat izanez gero kasu berdina da. Akustika teknikariak muntatzen duten areto motetan pentsatu behar izatea ere eragin du. Esango nuke munduan oso areto gutxi daudela benetan soinu ona dutenak. Edozer gauza egin daitekeen aretotaz ari naiz. Soinu txiki, leun batetik hain zabala, hain handia, hain harrigarria den zerbaiteraino. Beti dago zerbait- ondo entzun daiteke hemen, txarragoa izan daiteke hor. Oso ona izan daiteke hemen, baina oso txarra han. Agian oso txara han, baina ez oso txarra hor, etab, etab.
So to find an actual hall is incredible -- for which you can play exactly what you imagine, without it being cosmetically enhanced. So therefore, acousticians are actually in conversation with people who are hearing impaired, and who are participators of sound. And this is quite interesting. I cannot give you any detail as far as what is actually happening with those halls, but it's just the fact that they are going to a group of people for whom so many years, we've been saying, "Well, how on earth can they experience music? They're deaf." We go like that, and we imagine that's what deafness is about. Or we go like that, and we imagine that's what blindness is about. If we see someone in a wheelchair, we assume they cannot walk. It may be that they can walk three, four, five steps. That, to them, means they can walk. In a year's time, it could be two extra steps. In another year's time, three extra steps.
Beraz areto bat aurkitzea ia ezinezkoa da, nun imaginatzen duzuna jo dezakezun, zehatz-mehatz, "estetikoki hobetua" izan gabe. Beraz, akustika teknikariak entzumen arazoak dituzten pertsonekin eta soinuaren partaideak direnekin eztabaidan daude. Eta hori oso interesgarria da. Ezin dizuet zehazpenik eman areto hauekin gertatzen ari denaz, baina pertsona talde horri kontsultan ari dira, hainbeste urtetan haietaz honelako gauzak esan eta gero: "Beno, nola sentitu dezakete musika? Gorrak dira." Guk hau bakarrik egiten dugu eta imajinatzen dugu gorra izatea hau dela. Edo honela egiten dugu eta imajinatzen dugu itsua izatea hau dela. Norbait gurpil aulki batean ikusten badugu, suposatzen dugu ezin duela oinez egin. Izan liteke hiru, lau edo bost pausu eman ditzakeela. Hau, haientzat, ibiltzea izan arren. Urte bateko epean, bi pausu gehiago izan daitezke. Beste urte batean, hiru gehiago.
Those are hugely important aspects to think about. So when we do listen to each other, it's unbelievably important for us to really test our listening skills, to really use our bodies as a resonating chamber, to stop the judgment. For me, as a musician who deals with 99 percent of new music, it's very easy for me to say, "Oh yes, I like that piece. No, I don't like that piece," and so on. And I just find that I have to give those pieces of music real time. It may be that the chemistry isn't quite right between myself and that particular piece of music, but that doesn't mean I have the right to say it's a bad piece of music. And you know, one of the great things about being a musician is that it is so unbelievably fluid. So there are no rules, no right, no wrong, this way, that way.
Gauza hauek oso garrantzitsuak dira erreflexiorako. Beraz elkar entzutean, oso garrantzitsua da guretzat entzute ahalmenak frogan jartzea. Geure gorputzak erresonantzia kaxa bat bezala erabiltzea. Epaiketa geldiaraztea. Niretzat, musika berriekin etengabe nabilen musikari bezala, oso erraza da esatea: "Bai, gustoko dut hori." "Ez, hori ez dut gustoko." Eta honela. Eta konturatu nintzen musika-lan bakoitzari denbora eman behar niela. Agian musika-lan horren eta nire artean ez dago kimika ona. Baina honek ez du esan nahi musika-lan txar bat dela erabakitzeko gaitasuna dudanik. Eta, badakizue? Musikari izatearen gauzarik handienetako bat oso oparoa dela da. Beraz ez dago araurik, ez dago zuzenik, ez dago okerrik, ez dago modu honetara edo beste modu horretara.
If I asked you to clap -- maybe I can do this. If I can just say, "Please clap and create the sound of thunder." I'm assuming we've all experienced thunder. Now, I don't mean just the sound; I mean really listen to that thunder within yourselves. And please try to create that through your clapping. Try, just -- please try.
Txalo egiteko eskatuko banizue- agian hau egin dezaket. Esaten badizuet: "mezedez, txalo egin trumoi baten soinua egiteko." Denok trumoia esperimentatu dugula suposatzen dut. Ez nahiz soinuaz bakarrik ari, trumoi hori zuen barruan entzutea nahi dut. Eta, mezedez, saia zaitezte hori zuen txaloen bidez sortzen. Saiatu. Saiatu bakarrik, mezedez.
(Loud clapping sounds)
(txaloak)
(Clapping ends)
Oso ongi! Elurra. Elura. Noizbehin entzun duzue elurra?
Snow.
(Laughter)
Snow.
(Soft clapping sounds)
Have you ever heard snow?
Ikusleak: Ez.
Audience: No.
Evelyn Glennie: Orduan utzi txalo egiteari. (barreak) Berriro saiatu.
Evelyn Glennie: Well, then, stop clapping.
(Laughter)
Try again. Try again: snow.
Berriro saiatu. Elurra.
(No sound)
See, you're awake.
Ikusten duzue, esna zaudete.
Rain.
Euria. Ez dago gaizki, ez dago gaizki.
(Light clapping sounds)
EG: (Laughs)
Not bad. Not bad. The interesting thing here, though, is that I asked a group of kids not so long ago exactly the same question. Now -- great imagination, thank you very much. However, not one of you got out of your seats to think, "Right! How can I clap? OK, maybe:
Honetan interesgarria da orain dela gutxi ume talde bateri hau eskatu niela. Orain- imaginazio handia, eskerrikasko. Hala ere, zuetako inor ez da eserlekutik jaiki pentsatzeko: "Ongi da! Nola egin dezaket txalo? Ondo, agian...
(Clapping sounds)
agian neure bitxiak erabil ditzaket soinu gehiago sortzeko.
Maybe I can use my jewelry to create extra sounds. Maybe I can use the other parts of my body to create extra sounds." Not a single one of you thought about clapping in a slightly different way other than sitting in your seats there and using two hands. In the same way, when we listen to music, we assume that it's all being fed through here. This is how we experience music. Of course, it's not.
Agian nire gorputzeko beste atal batzuk erabil ditzaket soinu gehiago egiteko." Zuetako inork ez du era ezberdinean txalokatzen pentsatu zuen eserlekuetan eta bi eskuak erabiltzen ez dena. Musika entzuten dugun era berean, suposatzen dugu dena hemen dagoela. Honela bizitzen dugu musika. Noski ez dela. Trumoia, trumoia, trumoia bizitzen dugu. Pentsatu, pentsatu, pentsatu.
We experience thunder, thunder, thunder. Think, think, think. Listen, listen, listen. Now, what can we do with thunder? I remember my teacher, when I first started, my very first lesson, I was all prepared with sticks, ready to go. And instead of him saying, "OK, Evelyn, please, feet slightly apart, arms at a more or less 90-degree angle, sticks in a more or less V shape, keep this amount of space here, etc. Please keep your back straight, etc., etc., etc." -- where I was just probably going to end up absolutely rigid, frozen, and I would not be able to strike the drum because I was thinking of so many other things, he said, "Evelyn, take this drum away for seven days, and I'll see you next week."
Entzun, entzun, entzun. Orain, zer egin dezakegu trumoiekin? Nire maisua gogoratzen dut. Hasi nintzenean, nire lehenengo klasean nik nire makilekin nengoen, hasteko prest. Eta ez zidan esan: "Ondo, Evelyn, mezedez. Oinak pixka bat aldenduta, besoak 90 graduko angeluan gutxi gora behera, makilak "V" forman gutxi gorabehera, mantendu leku hori hemen, etab. Mezedez, mantendu bizkarra zuzen, etab etab etab." Nik, seguruenik, zurrun eta izoztuta bukatuko nukeen eta ez nintzatekeen izango danborra kolpekatzeko gai, beste gauza askotan pentsatzen egon izango nintzatekeelako. Baina berak esan zidan: "Evelyn, eraman ezazu danbor hau zazpi egunetarako eta datorren astean ikusiko dugu elkar." Zer egin behar nuen? Ez nituen makilak behar,
So -- heavens! What was I to do? I no longer required the sticks. I wasn't allowed to have these sticks. I had to basically look at this particular drum, see how it was made, what these little lugs did, what the snares did. Turned it upside down, experimented with the shell.
ezin nuen makilik izan. Funtsean danbor hau begiratu behar nuen, nola egina zegoen, zer egiten zuten mihi txiki horiek, zer egiten zuten bordoiak aztertu. Buelta ematea, kaskoarekin experimentatu, larruarekin esperimentatu.
(Drum sounds)
Experimented with the head.
(Drum sounds)
Nire gorputzarekin esperimentatzen, bitxiekin esperimentatzen,
Experimented with my body.
(Drum sounds)
Experimented with jewelry. Experimented with all sorts of things.
edozein gauzarekin esperimentatzen.
(Drum sounds)
(Drum sounds end)
And of course, I returned with all sorts of bruises.
Eta, noski, ubeldurez eta antzerako gauzez betea bueltatu nintzen (barreak)
(Laughter)
baina, hala ere, esperientzia harriagarria izan zen.
But nevertheless, it was such an unbelievable experience, because where on earth are you going to experience that in a piece of music? Where on earth are you going to experience that in a study book? So we never, ever dealt with actual study books. So for example, one of the things that we learn when we are dealing with being a percussion player as opposed to a musician, is basically, straightforward single-stroke rolls.
Izan ere, nola esperimentatuko dugu hori musika-lan baten bidez? Nola esperimentatuko dugu hori ikasketa liburu batean? Beraz ez ditugu inoiz ikasketa liburu errealik erabiltzen. Honela, adibidez, ikasten dugun gauzetako bat perkusio exekutatzaile bat izatearekin ari garenean, musikari izatearekin ez bezala, kolpe zehatz eta sinpleen segida bat da.
(Drum sounds)
Hori bezalaxe. Eta gero pixka bat azkarrago egiten dugu, eta pixka bat azkarrago, eta pixka bat azkarrago.
Like that, and then we get a little faster --
(Drum sounds)
and a little faster --
(Drum sounds)
and a little faster, and so on and so forth. What does this piece require? Single-stroke rolls.
Eta honela. Zer da musika-lan honek behar duena? Golpe sinpleko erredoblea. Beraz, zergatik ezin dut musika-lan baten ikasketan zehar egin?
(Drum sound)
So why can't I then do that whilst learning a piece of music? And that's exactly what he did. And interestingly, the older I became, and when I became a full-time student at a so-called "music institution," all of that went out of the window. We had to study from study books. And constantly, the question, "Well, why? Why? What is this relating to? I need to play a piece of music." "Well, this will help your control." "Well, how? Why do I need to learn that? I need to relate it to a piece of music. You know, I need to say something.
Eta hori da berak egin zuena. Eta hazi nintzenean, "musika instituzio" deitzen zaionean denbora osos ikasten hazi nintzenean, hau guztia alboratua izan zen. Ikasketa liburuetatik ikasi behar genuen. Eta askotan, galdera, beno, zergatik? Zergatik? Zerekin dago erlazionatuta hau? Musika-lan bat jo behar dut. "Beno, hau zure kontrola hobetuko du" Baina, nola? Zergatik ikasi behar dut hau? Musika-lan batekin erlazionatu behar dut. Badakizue? Zerbain esan behar dut.
Why am I practicing paradiddles?
Zergatik ari nahiz paradiddleak praktikatzen?
(Drum sounds)
Makilaren eta eskuaren kontrolerako, literalki, da bakarrik? Zergatik nago hau egiten?
Is it just literally for control, for hand-stick control? Why am I doing that? I need to have the reason, and the reason has to be by saying something through the music." And by saying something through music, which basically is sound, we then can reach all sorts of things to all sorts of people. But I don't want to take responsibility of your emotional baggage. That's up to you, when you walk through a hall, because that then determines what and how we listen to certain things. I may feel sorrowful, or happy, or exhilarated, or angry when I play certain pieces of music, but I'm not necessarily wanting you to feel exactly the same thing. So please, the next time you go to a concert, just allow your body to open up, allow your body to be this resonating chamber. Be aware that you're not going to experience the same thing as the performer is.
Arrazoi bat izan behar dut, eta arrazioa zera izan behar du: zerbait esatea musikaren bidez. Eta musikaren bidez zerbait esatean, funtsean soinua dela, edozein motatako gauzak transmiti daitezke edozein pertsonari. Baina ez dut zuen emoziotaz ardura artu nahi. Hori zuek areto batera sartzen zaretenearen araberakoa da. Honek zehaztuko du nola entzuten ditugun hainbat gauza. Triste sentitu naiteke, edo zoriontsu, edo asaldatua, edo gozagaitz musika-lan batzuk jotzen ditudanean, baina dut nahi zuek berdina sentitzea. Beraz, kontzert batera zoaztenean, utzi zuen gorputzak irekitzea, utzi zuen gurputzari erresonantzia ganbara izatea. Kontuan izan ez duzuela musikariak esperimentatuko duen berdina sentituko. Artista posizio txarrenean dago soinu errealarentzako:
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick --
makila kaxa kolpekatzen duenaren soinua entzuten ari da,
(Drum sound)
on the drum, or the mallet on the bit of wood, or the bow on the string, etc., or the breath that's creating the sound from wind and brass. They're experiencing that rawness there. But yet they're experiencing something so unbelievably pure, which is before the sound is actually happening. Please take note of the life of the sound after the actual initial strike, or breath, is being pulled. Just experience the whole journey of that sound in the same way that I wished I'd experienced the whole journey of this particular conference, rather than just arriving last night. But I hope maybe we can share one or two things as the day progresses. But thank you very much for having me!
edo mazoa egurra kolpekatzen, edo arkua sokan, etab. Edo soinuak sortzen duen arnasketa haize eta metaletan. Gordintasuna esperimentatzen ari dira bertan. Hala ere zerbait hain purua esperimentatzen ari dira benetako soinuaren aurrekoa dela. Mezedez, kontura zaitezte soinuaren bizitzaz kolpea eta gero, edo arnasketaz, emanak izan dira. Soinu horren bidaia esperimentatzen dugu konferentzia honen ibilbide guztia esperimentatu nahi izan nukeen moduan atzo ailegatzearen ordez. Espero dut hainbat gauza trutatu ahal izatea egunean zehar. Eskerrikasko gonbidatzeagatik!
(Applause)
(txaloak)
(Applause ends)
(Music)
(Music ends)
(Applause)