You're probably wondering how did I do that?

[PLAYING PIANO]

Music is a story about life, and it's a story about heart.

Nobody wants to hear C sharp major with a sharp 11th.

All these technical things, that's not music.

That's craft.

If it's devoid of the heart, then it doesn't mean anything.

We're going to talk about harmony, melody.

More importantly, looking at one's

own ability to develop one's own sound.

[MAKING SOUNDS]

If there's something that you feel at the moment,

that's how I wrote "Watermelon Man."

The women, they would be saying, hey, watermelon man!

And that's how I came up with that.

(SINGING) Hey, watermelon man!

If we take the blues, I did a turn on that.

You see that?

Because you can't bend notes on the piano,

so it's an attempt to make it sound kind of guitar-like.

Instead of bending them, we just go back and forth between them.

Working with Miles Davis, where I played something

that was technically wrong, I thought I had just

destroyed everything.

Miles played some notes, and he made my chords right.

I judged what I had played.

Miles didn't.

That's what every jazz musician should do.

One, two, three, four.

One, two, three, four.

[MUSIC PLAYING]

The problem happens when you don't put that first note down.

Just start.

Believe that you can be better than where you are right now.

I mean, that's all I am.

I hope I can be better tomorrow than I am today.

I'm Herbie Hancock, and this is my MasterClass.