From Herbie Hancock's MasterClass

Jam Session: Rhythm in “Actual Proof”

Herbie brings the rhythm section back to break down the groove of one of the Headhunters’ most complicated numbers. Play along and find the downbeat for yourself.

Topics include: Jam Session: Rhythm In "Actual Proof"

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Herbie brings the rhythm section back to break down the groove of one of the Headhunters’ most complicated numbers. Play along and find the downbeat for yourself.

Topics include: Jam Session: Rhythm In "Actual Proof"

Herbie Hancock

Teaches Jazz

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Preview

OK, now we're going to talk a little bit about rhythm. So we're going to take a tune I wrote some years ago with Bennie Maupin called "Actual Proof." And it was originally written to kind of show off to the drums, because it has the use of what years ago used to be called stop time, at least that concept. So again, I have the aid of Luka on electric bass and Anthony on drums. And let's see what happens, OK? One, two, one, two, three. [LAUGHING] Thank you. So there's interactions happening, a lot of rhythm, and things happening in unexpected places, you know, displacement of rhythms. Doesn't really fall where you would expect that to fall. But actually, it was constructed that way on purpose. Actually, we still count one, two, three, four, but we displaced that. We actually moved that over from where that were a figure like that normally falls, just to fool everybody into thinking that we actually changed the beat and we didn't. So a lot of rhythmic things happening. You know, giving yourself a challenge, giving the other musicians you're working with a challenge by writing tunes that have displaced rhythms. And by that what I mean is if you're taking something that normally they hear-- the ear hears that the beat falls in a certain specific place. And if you actually remove half a beat somewhere and move that phrase one-half a beat backwards, that's a displacement of the rhythm. And it can create some very interesting responses from the other musicians, and gives you a challenge of something different to work with. Preparing to perform a piece like this takes a lot of time. I don't know, when you guys learned this, did you have to listen to it a lot? I mean, because I didn't send you sheet music. I didn't even know you. So you learned it from listening to the record, right? Right. Yeah, and the bass line is particularly tricky, because the one is not where, I mean, you might think that it is. Right. You can listen along and try to find the one, if you dare to. But actually, we were never changed from 4:4. You, yourself, rewind this. Rewind the actual performance that we did, and see if you can count it. But you can make compositions yourself. Just play with moving things around. And it's a really good exercise, not only in composition, but for actually improvising, to have to figure out ways of improvising something that makes sense over phrases that are displaced-- either moved backwards or moved forward. So try it and see what you come up with.

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Herbie Hancock's jazz career started in his family's living room, listening to his favorite records and trying to play along. Now, he's one of the most celebrated musicians in the world. Join Herbie at the piano as he shares his approach to improvisation, composition, and harmony. Gain access to 10+ original piano transcriptions, including 5 exclusive solo performances.

Reviews

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Students give MasterClass an average rating of 4.7 out of 5 stars.

Herbie is a great teacher. I started as a beginner with some practice, not much skill. With daily practicing, I improved. This course helped as well: the first lessons were at my skill level but quickly progressed past my skills. Although I was out of my element, I like how encouraging Herbie is that I can be an expert like him with many years of practice.

Excellent perspective...I think about the feelings I get when I listen to a great performance. How alive I feel! Completely human.

I think that more than musically, I have improved in the way I see life and music connectec with it. Herbie was a great mentor in that aspect, I think that more than teaching theory and all that he taught us some philosophy behind music, and that's amazing. I feel music a little bit more, and that will let me go even forward and for that I must thank.

I have taken a lot from this class particularity. Herbie is a master of communicating his ideas in a way that is very adaptable to all sorts of different approaches, styles. I had a great time and will be re-watching and absorbing these lessons for years to come.

Comments

William C.

really impressed how he navigated the Kronos keyboard. I may have to get one

Hans B.

I wish he had included more of the process of how to make up something like that.

Louis J.

So Cool, I am really bad watching good musicians, I slip into unworthy feelings too easily. Would be interested to see how you guy deal with that kind of thing? I like the view that those people serve to make you better. All to easy to forget though.

Margaret E.

WOW - all three were great and all three had fun. wonderful just to listen to them. I'm a long away from that kind of rhythm.

Kris Y.

This is awesome stuff and rather 'mindbending' for me at the moment but I will also be revisiting this lesson many times. I'm going back now to find the 'one' if I can.

John P.

Rhythmic displacement - very interesting. I was amazed at how all three musicians arrived at the end in perfect time. I will no doubt listen to this lesson many times.

Dominic V.

Man, there's gonna be a lot of reruns of this video on my computer. A lot to be gained here.