Stefon Harris: There are no mistakes on the bandstand

160,133 views ・ 2011-12-09

TED


Please double-click on the English subtitles below to play the video.

Translator: Taban Khidr Reviewer: Ahmed Yousify
00:15
Okay, I have no idea what we're going to play.
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باشه‌، هیچ بیرۆكه‌یه‌كم نیه‌ .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
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
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
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
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
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
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
06:45
when you walk on the bandstand.
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.كه‌ ده‌ڕۆی به‌ناو باندستاند
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
06:50
In the middle, we sort of made our way
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له‌ ناوه‌ڕاستدا، ڕێكای خۆمان دۆزیه‌وه‌
06:52
into a song called "Titi Boom."
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له‌ گۆرانیه‌ك به‌ناوی 'Titi Boom'
06:54
But that could have happened -- maybe, maybe not.
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به‌ڵام له‌وانه‌یه‌ ڕویدابا-- .له‌وانه‌یه‌، له‌وانه‌ش نیه‌
06:57
Everyone's listening. We're responding.
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.هه‌موو كه‌س گوێی ده‌گرت .ئێمه‌ش وه‌ڵاممان هه‌بوو
06:59
You have no time for projected ideas.
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هیچ كاتمان نه‌بوو .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
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
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
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
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
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
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
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
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
08:06
And we won't react to it.
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وه‌ ئێمه‌ هیچ كاردانه‌وه‌یه‌كمان .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
08:12
We'll see what happens when we play with this palette.
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باببینین چی ڕووده‌دات .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
08:43
The only way that I would say it was a mistake
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تاكه‌ ڕێگایه‌ك كه‌ 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
08:49
So it's unpredictable. We'll paint this palette again.
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.ئه‌مه‌ پێشبینی كراو نه‌بوو .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
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
10:12
The texture changed in the drums this time.
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ئه‌م جاره‌ پێكهاته‌كه‌ی .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
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
10:21
The only mistake is if I'm not aware,
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تاكه‌ هه‌ڵه‌یه‌ك ئه‌وه‌یه‌ ،كه‌ ئاگه‌دارنیم
10:23
if each individual musician is not aware
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گه‌ر هیچ تاكێكی مۆزیك ژه‌ن ئاگه‌دارنه‌بێ
10:25
and accepting enough of his fellow band member
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وه‌ قبوڵ بكرێ له‌لایه‌ن 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
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
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
10:45
So how does this all relate to behavioral finance?
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هه‌موو ئه‌مانه‌ چۆن كار 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
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
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
11:07
is it actually limits the artistic possibilities.
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له‌ ڕاستیدا شیمانه‌ی هونه‌ری .سنوردار ده‌كات
11:09
If I come up and I dictate to the band
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گه‌ر من باسم كرد و 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
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
11:34
I'm telling them, "You come with me over this way."
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پێیان ده‌ڵێم، "له‌گه‌ڵم "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
11:38
the best way for me to do it is to listen.
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11:40
This is a science of listening.
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.باشترین ڕێگا ئه‌وه‌یه‌ گوێ بگرم
.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
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
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
11:59
and they give you more, and gradually it builds.
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،ئه‌وانیش زیاتر ده‌به‌خشن .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
12:47
It's much more organic. It's much more nuanced.
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زیاتر په‌یوه‌ندی داره‌ .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
12:51
It's about being here in the moment,
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ئه‌مه‌ په‌یوه‌ندی به‌ ،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)
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