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  • You're probably wondering how did I do that?


  • 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.


  • 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.


  • 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.


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