All language subtitles for MasterClass Alicia Keys Teaches Songwriting and Producing_Full

[FOOTSTEPS APPROACHING]

[CHATTERING]

[CREAKS]

[POKER CHIPS CLINK]

[SCRAPES]

[CHEERING]

[FILM REEL PUTTERS]

ALICIA: Millions have arrived
on New York shores, inspired

ALICIA: Millions have arrived
on New York shores, inspired

by the sight of Lady Liberty,
her torch lighting the way

for dreamers, a place where
the seemingly impossible

feels worth attempting.

We all want the opportunity
to work hard and breathe life

into our ambitions.

My hometown, more
than any other city,

represents that possibility.

represents that possibility.

What's going on, y'all?

We're here together.

I'm crazy excited.

I can't believe it.

We are about to talk about how
to access everything that's

inside of you to create a song.

So I've never exactly done
anything like this before.

Um, I really like doing
things that I've never

done before actually.

done before actually.

It's my favorite thing
to do 'cause there's

no preconceived notions.

You don't have an
expectation for it.

So I've never taught
like this before.

And I don't know if it's
teaching or sharing.

I feel like teaching is sharing.

And I've always said that if I
wasn't going to be an artist,

I would be a teacher,
'cause I would be,

like, the coolest junior high
school teacher of all time.

You know what I mean?

[LAUGHS]

[LAUGHS]

We're going to go through
all kinds of pieces--

song writing, lyrics.

We're going to talk
honestly about the process

and how to find
it, where to start.

(SINGING) Even if you
were a million miles away,

I can still feel you in my bed.

I can still feel you in my bed.

Tools like instruments
to help you

find your way to the emotion--

also going to bring
you into the studio,

talk production, sonic sounds,
how to put everything together

to really create that beautiful
piece that you want to create.

Because if I went [VOCALIZING],,
it wouldn't have felt the same.

If I went [VOCALIZING],,
it wouldn't

have felt the same either.

It's [VOCALIZING].

I'm even going to bring
you into the booth with me

I'm even going to bring
you into the booth with me

so that we can talk arrangements
and styles and choices,

and how in the
world do you access

that beautiful space that's
waiting for you right now?

[LAUGHS]

It's gonna be fun.

It's gonna be fire.

And it's my first time doing
this with you, us together.

So I can't wait.

You ready?

You ready?

I'm Alicia Keys, and
this is my MasterClass.

[BELL DINGS]

[LAUGHS]

I need that real bad.

Can we please put
the ting in there?

[MUSIC - ALICIA KEYS,
"UNDERDOG"]

[HARMONIZING]

ALICIA KEYS: (SINGING) She
was walking in a street.

Looked up and noticed.

He was nameless.

He was homeless.

She asked him his name and
told him what hers was.

He gave her a story 'bout a
life with a glint in his eye

and a corner of a smile.

One conversation,
a simple moment.

The things that
change us if we notice

when we look up sometimes.

when we look up sometimes.

They said I will
never make it, but I

was built to break the mold.

The only dream that I've
been chasing is my own.

So I sing a sing for the
hustlers trading at the bus

stop--

(SPEAKING) Piano is
such a cornerstone me.

It's such a friend to me.

I started playing
piano when I was seven.

So I've been sitting
behind a piano for so long

So I've been sitting
behind a piano for so long

that I do really feel
safe here and I do really

feel comfortable here.

It's a really special place.

So many people I
talk to are like,

man, I love piano
until that one teacher.

You know what I mean?

And it really-- it
turns people off.

And teaching is really such a
powerful, beautiful, important

place to connect.

place to connect.

My piano teacher
really introduced me

to different styles of music.

She helped me on that path
of discipline and diligence

in the sense of, you
know, just giving me

parameters and
places that you had

to try to get to and
learn certain things.

And, you know, it's a
different state of mind,

but she also was really good
about knowing what I liked

and what I didn't like,
and she listened to me.

She'd know what I
was leaning towards.

She helped me to learn
how to play songs

She helped me to learn
how to play songs

that I loved that
were on the radio

and showed me why they
looked the way they

did so that even I
started to understand

how to create my own, you
know, things like that.

Another amazing teacher I
had was my high-school music

teacher named Miss
Aziza, and she was almost

like my real-life Nina Simone.

She was like this beautiful
Black woman-- is, by the way,

currently is like a
beautiful Black woman

with gorgeous dreads, and
she had these long fingers.

And she would play
her ass off, man.

She was like ba, ba, ba, ba,
ba, ba and played jazz crazy,

She was like ba, ba, ba, ba,
ba, ba and played jazz crazy,

and she sang so amazing.

She wrote all her songs.

She arranged everything.

And when she taught us, she,
you know, gave us her songs.

She gave us harmonies with
7's and 9's and 13's, and we

were like ah.

We had to really
learn some cool stuff,

and that really
inspired me to create

and continue to try things.

And definitely my mother.

And definitely my mother.

She raised me by
herself, single mother.

And she taught me--

man, she taught me
how to be fierce.

She taught me how to be
candid, and she taught me

how to be loud and understand
that if you want something,

you're going to talk up.

You're going to
have to speak up.

You have to say it.

You have to verbalize it, and
sometimes you have to get loud.

And she was really such
a powerful teacher for me

And she was really such
a powerful teacher for me

on so many levels
as a woman, someone

who stands up for other
people, for other women.

She is definitely a
huge teacher for me.

The classical composer that
influenced me mostly is Chopin.

I really love Chopin.

I really love Chopin.

His style is really emotional
and beautiful and dependable.

I also love Erik Satie.

I like Ravel.

WC-- WC is really cool.

I really like Bach
because there's

a very individual-specific
style of him,

and I really like to play
because it's quite interesting

to have a melody in one hand
and then have that same melody

in the other hand, and
they pass back and forth,

and that's really his style.

The arrangements are
incredible to listen to.

Then Billy--

Bill comes in with a solo.

ALICIA KEYS: But I feel like
Isaac Hayes and Quincy Jones

and some of the greatest
arrangers of our times

totally listened
to classical music.

You can hear the way that
sonics work and the way

that horns fit in, where
the strings fit in,

the way that the
bottom and the basses

and the bassoons
and the cellos fit

and the bassoons
and the cellos fit

and all those middle sections,
the pianos and the guitars

and anything else that
fits in that middle.

I think you can really listen
for arranging and voicings.

You know, you hear the
way the voicings happen,

the way they invert, continue
going for themes also.

What's the theme of the piece?

And you'll find that
if it starts on piano,

maybe then the string
section takes the theme.

And then later after that,
maybe the horn section

takes the theme and the
voice takes the theme.

You know, it's cool to explore
that there are these themes

You know, it's cool to explore
that there are these themes

and there are these
ways to create things

that many instruments can take.

So I think that's
really beautiful

to gain when listening
to classical music.

How do I start a song?

How do I begin it?

If I feel something, or
I have created something,

how do I begin it?

You just don't
know, because I've

written many, many
songs, hundreds of songs.

written many, many
songs, hundreds of songs.

But every time, I don't know
how it's going to happen.

I don't know what's
going to come.

I don't know, how is it
going to find its way?

I don't have a clue.

And that's when I say
that it's emotional to me,

because some people are
quite technical with music,

quite specific,
almost scientific.

And that's awesome, because I've
always wondered how to do that,

And that's awesome, because I've
always wondered how to do that,

because I truly don't
know how to do that.

All I know is, if I
can find the feeling,

then I can find
my way somewhere.

So that's usually what I do.

Sometimes, it will
be in my head.

As I'm walking on the
street, as I'm in my car,

I hear bits and pieces.

I'll grab my phone and record
the pieces that I hear.

Sometimes, it's just an emotion.

And I sit down.

And I sit down.

And I play the first
thing that I feel.

Sometimes, I feel
nothing at all,

and I just sit down anyway,
and I play whatever comes out.

So any of these ways work.

And if anything, you
can try all of them,

because it depends on the day.

It depends on the hour.

It depends on the alchemy, and
the magic, and the whatever

that we-- the unknown.

I think improvisation
plays a really big role

in the songwriting process, just
being open, just being fluid.

I tend to improvise
melody more than lyric.

For me, I will play a few
chords, and happily just--

[PLAYING PIANO]

--sing the first thing
that comes to my head,

and then try it a few
times, and just sing.

and then try it a few
times, and just sing.

Can I remember that?

Do I love that?

Does that feel right?

[PLAYING PIANO]

I always heard that
the Beatles said

that, if they couldn't remember
their song the next day, then

they weren't doing it,
because it wasn't good enough.

[PLAYING PIANO]

So I love to improvise
the melodies,

and find my way through it,
and find different places.

And I usually also love to
create levels to the song.

And I usually also love to
create levels to the song.

If I'm starting
at the beginning--

[PLAYING PIANO]

--I like to keep it in a
place that feels comfortable

to access, something
that's a little bit--

[PLAYING PIANO]

--easy.

And then, as I
continue to go, then I

like the melody of the
song to lift up and get

a little bit more energetic.

[PLAYING PIANO]

And then, by the time
I hit the chorus,

And then, by the time
I hit the chorus,

I'm usually
freestyling something

that really brings you higher
so that, when you get back

to that verse, it
can be back to that--

[PLAYING PIANO]

--calmer, more accessible space.

So a lot of the time, that's
usually how I think of a song.

But obviously,
there are no rules.

And there are no right ways.

And there are no wrong ways.

It's all right.

And it's all magic.

And it's all amazing.

And it's all you.

And that's something that I've
definitely been really thinking

And that's something that I've
definitely been really thinking

a lot about lately--

is the understanding
that only you have what

you're going to
bring, literally.

Nobody has it.

No one.

So there's a beautiful
strength and confidence

that comes when you realize
that you're the only one that

got what you got.

Those ways that you hear
music, the way that you

Those ways that you hear
music, the way that you

hear lyrics, the way that you
feel, the way that you process

your emotion, the way that
you put your words together,

the way that you sing
the melodies that you're

going to sing--

nobody else is going to
do it like that, only you.

And what you have, people need.

So freestyling and
improvising is definitely

a beautiful trait.

When it comes to lyric
writing, a lot of people

freestyle lyrics, a lot.

Sometimes, people will
even just mumble the melody

Sometimes, people will
even just mumble the melody

and then step back and listen
to the melody for the lyrics.

And I've found that
that happens sometimes,

because there's
moments where I'm like,

I know exactly what
I want to say here.

And then it sounds something
like, [VOCALIZING]..

And then it's like,
wait, what is that?

What does that mean?

I just want to run away.

(SINGING) I just
want to run away.

Is that I just want to run away?

So the flow, and the
fluidness, and just

the openness, the conduit,
is really, really cool.

But usually, I like
to craft lyrics.

But usually, I like
to craft lyrics.

I like to think about them.

I like to be a little bit
more precise with them.

I like to be almost a little
more traditional songwriting

with lyrics, just to be able
to really complete the thought

and make sure that the story, or
whatever it is that I'm trying

to put to word, is clear.

Because I know, when people can
get it, that's when it works.

With "Diary," I remember
the song "Diary,"

I could not get past--

I could not get past--

[PLAYING PIANO]

And that just came
out of the blue.

I just sat down, and I
was between some show

and another show.

And I sat down, and it came out.

I was like, whoa,
whoa, what is that?

And for a year, I
couldn't find the words.

I couldn't find
anything to go with it.

I couldn't hear it.

Nothing came.

Sometimes, it's just the
piano, and it will spring up.

Sometimes, it's a poem that
I've written the majority of it,

Sometimes, it's a poem that
I've written the majority of it,

and I'm trying to figure out,
how might the rhythm of it go?

[PLAYING PIANO]

I started playing it.

So it took, like, a year
for me to find any lyrics.

[PLAYING PIANO]

So "just think of me as
the pages in your diary"

makes me smile,
because I'd watched

"The Bridges of Madison
County," the movie, which

"The Bridges of Madison
County," the movie, which

is this super sappy love story,
the extra, which you love it.

And like all in love
with each other.

And you're like, ah.

By the end of the movie,
you're just all teary,

and feeling all tickly.

So I'd watched that.

And that feeling of love,
that feeling of pure passion,

was definitely just--

I loved it.

And so I remember
that I first tried--

[PLAYING PIANO]

I had the--

(SINGING) "I won't
tell your secrets.

(SINGING) "I won't
tell your secrets.

Your secrets are safe with me.

'Cause nobody else--
what else do you want,

but for your secrets to
be safe from a person,

or that you can trust a person?

And then I went--

[PLAYING PIANO]

(SINGING) I will
keep your secrets.

And then I think I said
something like, just think of--

I said--

(SINGING) Just think of me as--

(SINGING) Just think of me as--

I tried to fit in
"just think of me

as "The Bridges of
Madison County.""

I tried so hard [LAUGHS]
to make it work.

And if I tried it now--

(SINGING) Just think
of me as "The Bridges

of [MUMBLES] County."

So it was the flow.

I knew the flow I wanted.

But obviously, "The
Bridges of Madison County"

was just not going to work.

And I was like,
what is it, though?

Damn, this song is giving
me so much trouble.

It's like, I really have
to dig for this one.

It's like, I really have
to dig for this one.

Because some songs,
you got to excavate.

It's just that's how it goes.

You have to literally dig,
and dig, and dig, especially

if you love it, if you love it
and you know that it's great,

and it's going to be
great, but you just

have to find the pieces
and make a great.

So this was one I
had to excavate.

And my partner at the time--

Krucial, who wrote a lot of
the first and second record

with me.

I was like, "Bridges"--

I was like, "Bridges"--

I sang it for him.

And I was like, "Bridges
of Madison County."

And he was like, what if it
was something about your diary,

because of the
secrets, and is diary.

And I was like--

[GASPS]

(SINGING) Just think of me
as the pages in your diary.

See?

You got to be open,
because man, imagine

if I said, "just think of me
as "The Bridges of Madison

County."" I don't think the song
would have been as poignant.

[LAUGHS]

So just think of me as
the pages in your diary.

Again, with diaries
being so much

Again, with diaries
being so much

of a way that I express
myself, and with diaries

being the place that
you keep your secrets,

and you can be so open and
be completely yourself,

and you can trust it,
and it won't betray you,

and all these things,
it made perfect sense.

And it felt exactly like
what I was trying to say.

[GENTLE PIANO MUSIC]

And another teacher
I always loved,

her name was Miss Sabatino,
and she was actually

my English teacher.

And she gave me this
spark and this love

for reading and literature and
the messages behind the words.

And I would be so fascinated
in the class with her

as she would--

you know, if we were
reading something

you know, if we were
reading something

and she would kind of
provoke us to think deeper

about what did that mean.

And it was the
first time I started

to look at things
beyond just the surface,

but what was the metaphor?

What was the message
underneath that--

you know, those words?

And I think, on a songwriting
side, that's definitely

books and reading and
literature is definitely

a big way in for me of how
to create and how to write

and how to find inspiration or--

a lot of times, I can--

I'll read a book, like a Willa
Cather book from, you know,

I'll read a book, like a Willa
Cather book from, you know,

the late 1800s or something just
because the tone and the poetry

that's used to write
that style of book

makes me think differently--
even the cadence or the prose

that I start to use.

So that's really cool.

I really love books
as a tool to continue

to write in ways that are
unique or interesting,

or if I need inspiration, a lot
of times I'll turn to books.

or if I need inspiration, a lot
of times I'll turn to books.

I'm not sure about
the first time

I got a journal in
my hands, but it

must have been for my mother.

She was a journal
writer and a writer too.

She has, like, this really
beautiful handwriting.

The first time I got
a journal, it really

changed everything for me.

I remember, like, the little
one with the key, [LAUGHS]

I remember, like, the little
one with the key, [LAUGHS]

you know, and you didn't want
anybody read your journal

and that kind of thing.

And I think it had
multiple colors.

Each page was, like,
a different color.

And, you know, I named it.

So that's how young I was.

I named my journal.

But I remember that
when I figured out

how to put pen to paper
and express myself--

at the time, it wasn't songs.

It was just kind of
feelings or fears or worries

or whatever happened in
third grade or, you know,

whatever those things are.

whatever those things are.

It gave me an outlet
because I've always been

quite guarded and protective.

I've also been-- you know, I
grew up with a very strong--

my mother was very
strong, like, very--

just her energy is very strong.

And so I always got a little
tongue tied around her.

I didn't exactly know how
to say what I wanted to say.

And it was through the process
of journaling that I got

to get a lot off of my chest.

to get a lot off of my chest.

And so I believe that
the journaling eventually

turned into the songwriting,
because even right now, today,

this morning, I journaled.

And I lose it sometimes.

I go away from it.

And when I come
back to journaling,

I realize how clear I become.

I become so much
more insightful.

I really understand
what I'm thinking more.

I'm able to process it and work
through it with myself better.

And that's really cool.

And that's really cool.

So journaling was my
door to songwriting.

And songwriting
definitely chose me

because I do remember
the first song

that I wrote was provoked by
the death of my grandfather.

And I didn't know how
to feel, and I never

felt that type of
sadness before,

and everything felt heightened.

Every emotion just
felt heightened.

And the first thing
that I thought of

was to go to the piano and play.

And that was the
first song I wrote.

That's the first time I
ever sat down and put--

That's the first time I
ever sat down and put--

I don't remember the chords
or I would play them for you.

But I don't remember them.

That's the first time I sat
down and allowed my feelings

to come out in a melody and
words that exactly described

just what I felt, just in
that moment, that second.

I didn't think about it.

I didn't try to do it.

I didn't want to
make it perfect.

I just felt it so much
that I had to say it.

I just felt it so much
that I had to say it.

And I remember-- I
was maybe 9 or 10.

Yeah.

And my mother just let me play.

It was late, 12:00, 1:00 AM,
something late, I remember.

She just let me play.

She didn't even come
ask me anything.

And that was the beginning
of this understanding

that, wow, you can have
a feeling, an emotion,

a sensation and just describe it
as you feel it, you, yourself.

a sensation and just describe it
as you feel it, you, yourself.

And it's good just
as it is, you know?

So I think songwriting chose
me, as far as I can recall.

And I chose it, 'cause, you
know, if something chooses you,

you got to choose it back.

[LAUGHS]

[GENTLE MUSIC]

You know what I
really love to do?

I like to start with the day.

Like, that day, that moment,
that second that you're in,

Like, that day, that moment,
that second that you're in,

what's going on?

How are you feeling?

What happened in that day?

What happened in
that space, you know?

And even if you're
just literally

focusing on the
most simple thing,

like your walk from your
house to the store--

it sounds crazy, but how
would you describe that?

How would that feel for you?

How could that which
you felt be translated

to somebody who wasn't
there with you, you know?

It's almost like how are
you painting the poetry

It's almost like how are
you painting the poetry

or how are you painting
the picture, the vividness,

the scent of it,
the people you saw?

What did it make you feel like?

I find that the practice of
that will lead you somewhere,

you know, somewhere that
you're trying to go.

So I find that when you
try to write a song,

So I find that when you
try to write a song,

it could probably be great.

But for me, whenever I've
tried to write a song--

and don't get me wrong, I
definitely sit down and--

you have to try.

I mean, you have
to start, right?

There's no-- nothing's going
to come if you don't actually

give it a shot.

But I find that if I haven't
identified something that

feels real to me, that's a
real emotion that I have,

then I'm searching for
words that I don't really

know exactly what they mean.

And maybe they sound pretty and
maybe they even feel beautiful,

And maybe they sound pretty and
maybe they even feel beautiful,

but what do they mean to me?

I can't find it.

You know, I can't
find the meaning.

So I find that when
I do seek something

that I really understand
personally, the song goes--

it just comes much more
fluidly, much more fluidly.

Like, you know,
conversations are beautiful.

Personal experiences
are amazing.

I remember for "Good
Job," we were actually--

I was actually-- we were just
looking at these young boys.

I was actually-- we were just
looking at these young boys.

They were, like--
they were, like--

we were in Egypt,
believe it or not.

And look, you don't have to be
in Egypt to write "Good Job,"

so let's not get it confused.

You can be anywhere because this
situation can happen anywhere.

But we were in Egypt,
and these young boys,

you know, they kept
running up to us

to get like a little doll
or a little something

because they were trying
to feed their family

because they were trying
to feed their family

and this was part of what
they had to do during the day.

And I just watched them,
and they were so young.

And I watched how they
were moving around.

And then I watched,
like, this older man.

He was just walking down with,
like, a horse and some fruit

in the back.

And there was another
woman just holding her baby

going where she was going.

And all of this everyday life,
this everyday people figuring

out how to get from
place to place, how

to survive another day,
made me think of my mother.

to survive another day,
made me think of my mother.

It made me think of how often
my mother has, you know,

sheltered me and figured out how
to get me from place to place

and protect me.

And I thought of
my dearest friend,

who is a single mother,
as well, like my mother.

And she is so
dedicated and driven

to making sure her
daughter is safe.

And I thought about, man,
do any of these people

hear that they're
doing a good job?

Does anybody ever tell them?

That man pulling the horse with
the fruit basket in the back,

That man pulling the horse with
the fruit basket in the back,

has he heard that
he's doing a good job?

Do those little kids
that were trying

to hustle to make ends
meet and bring it home

to their family to get a
little piece of bread and--

do they hear that
you're doing a good job

or you're doing the best
you can and we see you?

I don't think a lot
of people hear that.

In that moment,
that's how I felt.

And that was the
catalyst for that song.

So again, for me, I
find that you can just

So again, for me, I
find that you can just

look around you
and know something

that's really moving you,
touching you, your feeling.

That's the prompt, you know?

That's the prompt right there.

ALICIA KEYS: There's
definitely a relationship

that I have with classical
music and the way that it

has influenced the
way I play piano,

especially the darker classical
music that evoke a moodiness

and, you know, a
darkness almost.

The rain-- you know, it
just sounds like the rain

The rain-- you know, it
just sounds like the rain

when I describe it to myself.

Of course, classical music
can be quite complex and quite

fast and rigorous
and quick, but there

is something about the very slow
down tempos of even like a Bach

who has these right hands
that mirror the left hand,

and then the left hand
mirrors the right hand.

And there's these pieces
that just come to mind.

And I realized that a lot
of times when I play--

[PLAYING PIANO]

[PLAYING PIANO]

--it does have a classic
pull undertone in it, which

I think is awesome because it's
a mixture of hip hop and soul

and classical that collides that
I love so much because I love

those three sonics and the way
that they each have this truth

and honesty and
rawness and roughness

but in different ways, you know?

but in different ways, you know?

And so bringing those all
together is just natural.

I'm not trying to do it,
but it's part of what flows.

So I think "Fallin'" is a
really good example of how that

happens even.

I mean, when you
put it all together

and you hear the production,
the way that the drums hit,

you know, there's
a hardness to it,

a rawness to it that is really
a part of what I'm always

attracted to.

And then the piano
is super simple

but does actually have more
of a classical cadence even.

but does actually have more
of a classical cadence even.

And then the voice is what
brings the soul into it.

So those three elements
altogether create

kind of this feeling.

[MUSIC - ALICIA KEYS, "FALLIN'"]

(SINGING) I keep on fallin' in--

in love with you.

(SPEAKING) The inspiration for
"Fallin'" was, like everything,

(SPEAKING) The inspiration for
"Fallin'" was, like everything,

1,000% real life.

(SINGING) Sometimes I feel good.

It was my first relationship,
and I didn't really

understand how intense
love could feel.

And there was-- you
know, there's always so

many complexities with it.

And I was just feeling like it
was always going back and forth

and up and down.

and up and down.

And sometimes I was super
happy, and then sometimes I

was just, like, so frustrated.

And there were all these
components, and I just--

it was overwhelming
how real that was.

And then even, I
think, a little bit

as a metaphor as just life
in general at that time.

It was very up and down.

Like, everything
was so uncertain,

and moments would
be so good, and then

other moments would feel
so scary and full of doubt

other moments would feel
so scary and full of doubt

and all of these things.

So "Fallin'" was definitely a
bona fide real-life experience,

and that's why I think we
can all feel it so deeply.

(SINGING) How do you
give me so much pleasure

and cause me so much pain?

"Fallin'" actually
started in a car.

It was my first car,
which was a Mazda 626.

It was my first car,
which was a Mazda 626.

And I was driving
around the city,

and I remember these words,
these emotions, the push,

the pull, the good,
the bad, the whatever,

however you want to describe
this polarity feeling really

bubbling up inside of me.

And I remember singing it
into my little recorder.

I remember pulling over,
writing some things down.

I remember pulling over,
writing some things down.

I remember it was very much not
in a space that I, you know,

meant to be creating in.

And that's definitely
always a great sign

I think when it kind of comes
to you in the most random place.

Then I brought it
back and started

to think about it on the piano
and have this feeling with it

and make it make sense and
try to bring it all together

with what I was hearing
in my head and the lyrics

with what I was hearing
in my head and the lyrics

and how it felt and then
this simple piano thing.

(SINGING) I keep on
fallin' in and out.

(SPEAKING) The main theme of
"Fallin'" is this tug of war,

this back and forth, almost
the good side and the bad side

or the bright side
and the ugly side.

It's like it's the-- you know,
it's the opposites, basically.

It's the polarities.

It's those feelings
that we all live with.

It's those feelings
that we all live with.

The coolest part about "Fallin'"
is that it's very direct,

you know?

It is very-- it cuts no--

it's not beating
around the bush.

It's not alluding to a thought.

It is directly, 100% clear
that sometimes I love you

and sometimes you make me blue.

Like, sometimes I feel good.

Sometimes I feel
used, and loving

Sometimes I feel
used, and loving

you makes me so confused,
and it's literally that.

And I think that
the simplicity of it

is really what
makes it so tangible

and what makes it so gettable.

And even for me a lot of
times, the way I speak

is sometimes tremendously
maybe poetic or even just

like I'm always kind of
searching for the right words

and the right place.

And sometimes it goes over
and over and on and on,

and that's how I talk.

and that's how I talk.

But when I write
and when I sing,

particularly that song, it's
just like here's the truth.

This is the bottom line.

Boom, you know?

And I think that's what makes
it really, really gettable.

Another inspiration for
me for that song was--

you know, I'm a huge--

I like to say I stan
for the '60s and '70s.

Like, I'm a stan.

Like, I'm a stan.

And I just love the music
from the '60s and '70s.

And there's also a
piece of the '50s that's

also a big inspiration
for a lot of my songs,

the way that there's like
a simplicity, an ease.

The chords are always
quite gettable, you know?

And so this music from
the '60s and the '70s

and even, you know, some of the
'50s has always inspired me.

and even, you know, some of the
'50s has always inspired me.

It's always gotten me because
there's a lot of passion.

There's a lot of power.

I love how the
vocalists at that time

could just sing their
face off, you know?

They could just shout
and scream and blow,

and somehow you were still
completely enraptured,

you know?

And the most amazing
part of the fallen piano

is how simple it is.

It's literally--

[PLAYING PIANO]

--two chords, not even three.

--two chords, not even three.

And I think there's
something about--

and the verse just is hypnotic,
and the only thing that changes

is the--

but the bass is exactly the
same, E and B every time.

And then I think there's
a sadness in there.

And then I think there's
a sadness in there.

It's not happy-sounding
chords, you know?

And then on the chorus, it
just feels like it intensifies.

And there's a lot of
drops so that you can just

And there's a lot of
drops so that you can just

keep getting into the emotion
of the song and the feeling.

But I think the
piano is actually--

it's actually surprising
to me how simple it is.

A lot of the times I think
obviously as a musician

you really want things to
be a lot more complicated.

You know, you're learning
so many different chords,

or you're inspired by different
sonics and clusters and things

like that, and
it's so beautiful.

like that, and
it's so beautiful.

And then you just do something
as simple as, like, two chords,

and suddenly it just
makes perfect sense.

So there really is
something about simplicity,

and that's definitely what
I've learned over time too.

(SPEAKING) How do you
give me so much pleasure

and cause me so much pain?

(SPEAKING) "Fallin'" is
a piano, drums, a bass,

and these pizzicato
string parts,

and these pizzicato
string parts,

and then an actual beautiful
string line that's played

through it, and then
voices and soul.

That's like it.

It's like three
instruments, four--

four parts, three instruments.

And I think that there--

over time, I've learned
the more I put on things,

the smaller it becomes.

So here you think,
man, I put this string.

I put this synth.

I put this pad.

I'll put this bass.

I'll put this Moog.

I'll put this piano.

I'll put this piano.

I'll put this guitar.

You figure like, ooh,
it's going to be massive.

It actually gets
very constricted.

It gets very small
because then everything

doesn't have its own space.

But when it is very
stripped back and simple,

it sounds huge.

So that's what the
piano does, I think.

And then the emotion of it comes
from how it goes back and forth

between this very
simple arpeggio

to the very, like,
pounding chord thing

and then back to
a simple arpeggio.

and then back to
a simple arpeggio.

And so, again, I think it
pushes and pulls with you.

Even as you're just experiencing
the words, you're brought back,

and then you push forward,
and you're brought back.

Although the tempo is always
the same and the chords

are basically the same.

You just-- it's the
intention or the feeling that

feels different.

And then vocally,
you know, I think

the confusion or
the opposition of it

does come from that big
beginning being so strong

does come from that big
beginning being so strong

and, like, bah!

Like, I'm frustrated.

Ah!

And then it kind of breaks
down, so let me tell you why.

And then it gets back to the
big, big, big, big chords,

and then it breaks back
down to the but here's why.

And then but I need you and
then I don't, and then ah.

And so I think emotionally
both the music of it

and the melody of it copies
this idea of restraint and then

and the melody of it copies
this idea of restraint and then

nonrestraint and strength and
then softness and then anger

and confusion and, like,
all these different emotions

that get to be inside of it.

It's really interesting
for me because I

don't sit here and break
down my songs normally.

Like, this is not
something I normally--

I don't sit here and
like, this is how and why.

I don't even think
about it at all.

So it's really cool--

actually, this is really cool
for me to even think about

actually, this is really cool
for me to even think about

why do these things
sound like that?

or why did it
relate this emotion?

and share that with you.

It's truly a once in
a lifetime experience.

I just don't look at
music in that way,

so there wouldn't
be a reason for me

to break it down normally.

So I'm learning
with you right now.

[LAUGHS]

I think that something
that's really powerful

is when you're able to
use the world around you,

your own experience,
simple things--

a phone call-- but using
the world around you

to provoke you to
begin to write.

And I think that's a
really powerful way

to connect and
know what you want

to say because you're personally
touched by it in some way.

to say because you're personally
touched by it in some way.

Everything leads to everything,
and that is definitely

the truth.

Even the times that I've written
really bad songs, I know--

and you know, what's good?

What's bad, right?

What does that mean?

What's right?

What's wrong?

What does that mean?

What does that mean?

So I usually don't like to
categorize or judge things

with those
generalizations because I

don't think that it really is
accurate and it's perception.

It's perspective.

It's opinion, right?

But I know that maybe I've
written something that I

didn't feel as connected to.

Let's call it that.

[LAUGHS]

Even when that's happened and
I've left my piano or my studio

or I've left whatever space
I'm in creating that thing,

I realize that there is
something conjuring with it.

I realize that there is
something conjuring with it.

There's something that happened.

There's something that's
coming from that experience.

The process of getting
it out without thinking

about how I'm getting
it out, without making

it sound good the way I'm
getting it out without,

taking away my--

just get it out--

is, for me, the
best way to do it.

is, for me, the
best way to do it.

And so there's been times where
I've written in my journal

and I've just stumbled on a
feeling, an emotion, a word,

phrase.

And the song that
I recall happened

like that is one of my
favorite songs called

"Not Even the King."

[MUSIC - ALICIA KEYS, "NOT EVEN
THE KING"]

(SINGING) They can't afford what
we've got, not even the king.

(SPEAKING) This song is--

I love this song.

And I remember--
and it's so simple.

[PLAYING PIANO]

[PLAYING PIANO]

It's literally C,
D, E, F, literally.

And I had this experience
where I was contemplating--

this might sound strange, but
I'm going to be candid with

y'all because that's
what we're here to do.

So this is what we
all have to work on.

I think we have to work on
not judging ourselves a lot.

I think we have to work on
not judging ourselves a lot.

I just said to myself, hmm,
will this sound strange

if I say this to them?

But let's just go with it.

We're talking about
freedom of expression.

We're talking about
unchaining the mind.

We're talking about living
in the heart, in the spirit,

in the emotion.

So we have to let go of this
judgment in order to do it.

I was thinking about how
often times I've met people

I was thinking about how
often times I've met people

with an exorbitant
amount of money,

and I can't believe the
sadness that I feel from them.

And I was thinking about
how does that happen?

And I actually was talking
to my friend saying, look,

if everybody who's, like, a
billionaire is super miserable,

I'm good.

Like, I'm good.

We're doing good.

We're doing good.

We're cool.

And, of course, it's not that
because that's the stereotype,

right?

So it's never just that.

But I thought about
how this desire to not

lose the joy, the love, the
spontaneity, the connection,

the simplicity even as you
become more successful, even

as you become--

you have opportunities
in front of you,

even as things might become
more than your wildest dreams,

even as things might become
more than your wildest dreams,

continuing to keep
grounded and full of love

and making sure
you're doing what

really makes you feel good.

And so all of that was kind of
like this thought in my head.

And I started writing another
song that was called something

that I don't remember because
it didn't work out because I

didn't need it to work out.

It needed to lead me
to "Not Even the King."

And that's why it ends up
being one of my favorite lyrics

And that's why it ends up
being one of my favorite lyrics

and one of my
favorite songs ever,

period, because it's so simple.

And, you know, the lyric is--

(SINGING) Money.

Some people so poor.

All that they got's money.

Oh, and diamonds.

Some people waste their life
counting their thousands.

I don't care what
they're offering,

I don't care what
they're offering,

how much gold they bring.

They can't afford what we got.

Not even the king can
afford what we got.

Not even the king.

(SPEAKING) So that idea
of this wealth is excess,

(SPEAKING) So that idea
of this wealth is excess,

this access never being able
to overrule something pure.

But I remember that
song developed so much

from something that totally
didn't work and didn't exactly

feel right, but eventually
it became this thing

that I love so much.

So everything is a
process, and everything

is leading to something.

In a lot of my songs,
it's a conversation.

It's a dialogue.

A lot of the times
it's searching for,

you know, what
we're looking for.

We're searching for how
to continue forward.

We're searching for,
like, what's the answer?

We're searching for how do I
actually approach that person?

like in "You Don't
Know My Name,"

or we're searching for
the expression of what

or we're searching for
the expression of what

it is that we feel
that I think, for me,

the conversation standpoint
kind of happens naturally.

I don't even realize
that it's happening.

I remember specifically,
though, with "Troubles,"

I was in dire need of
a major conversation

with anybody who would listen.

And because I barely
trust people--

how can you trust people with
your most vulnerable feelings

and anxieties and feelings
of inadequacies and things

and anxieties and feelings
of inadequacies and things

like that that we all have?

And with "Troubles" at
the time, I was just--

I just didn't feel like I
could handle everything,

and I just didn't feel like I
could deliver what I wanted to.

And I felt this--

I was, you know, only maybe 16,
and I had this big expectation

to create this album, this
first album, and this music.

to create this album, this
first album, and this music.

And, you know, here I was,
and I played all these--

I played these songs for
people, and I told them

I knew who I was, and
I was a piano player

and an artist and my own woman.

And I still didn't even
know, was I my own woman?

or what did I exactly feel?

And there was just,
with life and choices,

everything just felt very
upside down and turned around.

I had moved out of my mother's
house really, really early,

and I felt lonely.

I felt-- I felt--

I felt grown, but
I felt not grown.

I felt grown, but
I felt not grown.

I was-- I didn't know
what I was doing.

I was just stumbling around
trying to figure out what

in the world.

So I kept waking up just
with this desperation,

this desperate feeling.

I felt so lonely and
isolated, and the only person

I knew who to talk
to was to God.

I just didn't know
who else to talk to.

I didn't know if anybody else
would understand or even get

it.

And that's why "Troubles"
is very conversation.

And that's why "Troubles"
is very conversation.

It actually allowed
me to say what

I felt because the verse is "I
feel like the world is closing

on me.

I feel like my dreams
will never come to be."

So I got the chance to
express all the things

that I was feeling because
it was driving me crazy.

It was inside, and I was just
banging around in my head,

and I could not let it go.

And then I imagined
being answered.

And in a way, maybe
it was the answer.

You know, it was the
answer at the time.

And so the universe,
God, that spirit

that I was talking to just
saying please, help me.

What do I do?

Was able to say-- (SINGING)
if you're troubled,

you just gotta let it go.

you just gotta let it go.

If you're worried, baby,
you just gotta let it go.

All your hustles
ain't for nothing.

You just gotta take it slow.

When you need me, baby,
all you do is let me know.

When you need me, baby,
all you do is let me know.

(SPEAKING) So it was like it
was a real-life conversation

that I needed at the time.

And I kind of gave myself
the answer that way,

and I needed it.

We live in a time
where many people

We live in a time
where many people

choose to try to tear
down, or to disencourage,

or to be negative.

And it's such a power--

it's such a superpower--

to find your empathy,
to find the way

you relate to each
other, to people,

to people you don't know,
to people you've never met,

to circumstances you've
never experienced.

If you can empathize with
them, if you can connect,

If you can empathize with
them, if you can connect,

and understand them,
and appreciate them

for what they are, I think
it's really powerful.

And I know that's what
creates the best music.

I know that's what creates
the best connection.

And I also know
that's what creates

a chemical change in how we're
relating to each other, which

is why music is so
powerful, because it's

more powerful than any other
medium, period, and probably

more powerful than any other
medium, period, and probably

all because of that access to
understanding human beings,

each other-- the heart,
the soul, the spirit.

I think empathy is one
of the most powerful

emotional experiences
because empathy

means that you can
actually put yourself

in the place of another and
understand what they may

in the place of another and
understand what they may

be feeling, and feel it with
them, understand it with them,

live it with them.

And there's definitely a
lot of empathy and energy

that comes from that.

And I remember, ever
since being a little girl,

I've always felt people's
energy so strong--

so crazy strong.

I could tell right away if
it was a gentle, soft spirit,

or if it was kind of a rough,
tougher energy, or a darker

or if it was kind of a rough,
tougher energy, or a darker

energy, or a brighter
energy, you know?

It definitely was, is, and
has always been something

that I could feel right away.

And I wasn't always
drawn to write very--

I didn't always know how to
write songs that were quite--

maybe you would
call them political,

or maybe you would call them--

I'm not sure what you call
them because, once again,

I'm not sure what you call
them because, once again,

I really try my best
not to label things.

But a lot of times,
I would be fascinated

with writers like Nina Simone,
Curtis Mayfield, and Marvin

Gaye, all people who really
took the world around them

and spoke on it so
eloquently and beautifully.

And I was fascinated
with them, but I didn't

know how to do it myself.

Like, how do you do that?

How do you actually take
all the chaos and all

the indescribable inequities,
unfairnesses, and put it

the indescribable inequities,
unfairnesses, and put it

into a song that makes sense?

I remember after a trip, my
first trip to South Africa

with my organization
Keep A Child Alive,

I met this young boy named Sudi.

And he was 16 years old,
but he looked probably

seven years old.

And his growth had been
stunted from the AIDS virus

and not being able to have
access to the medicine that

and not being able to have
access to the medicine that

would keep him alive.

And I went to his home, and I
met his family, and I met him.

And he just had these
tears that just fell down

his face the whole time, but
he wasn't crying visibly.

And it was so
intense, and it was

so powerful to be there with
him in this new experience,

in this place that looked
totally different from where

I grew up, and the experience
that was different from mine.

And I felt so connected to him.

And I wanted to do everything
to change it for him.

And I wanted to do everything
to change it for him.

And we talked about
all these things.

And even the group of
us figured out, what

are we going to do for Sudi?

And really making
sure Sudi is good.

And I wrote this poem
with his name in it.

And I didn't want to forget him,
and I wanted to solidify it.

And I left.

And maybe two months after
I left, they said Sudi died.

I wrote this poem.

I wrote this poem.

I wanted to take this, and I
wanted to transfer it to music

and crystallize Sudi how I met
him and how I felt about him.

And I couldn't.

I couldn't find the
music that made it work.

I couldn't find the melody that
would properly describe it.

And so it ended up
remaining a poem,

remaining words that I felt and
that I wrote, and that's all.

remaining words that I felt and
that I wrote, and that's all.

And I-- and that was all--

that was what it was
supposed to be, you know?

So it's very rare that songs
kind of come together in that

special way where you can
really talk about-- for me,

it's rare--

when you can really capture
what's happening to society,

you know?

In a way that is still a
story, is still a beautiful way

to stay connected to each
other and to understand.

to stay connected to each
other and to understand.

But it's not always easy to do.

[MUSIC - ALICIA KEYS, "PERFECT
WAY TO DIE"]

(SINGING) I think of
all you could have done.

At least you'll
stay forever young.

I guess you picked the
perfect way to die.

I guess you picked the
perfect way to die.

With "Perfect Way To
Die," I never thought

that it would actually
be in the world already.

I kind of thought that it
would come a little bit later.

I kind of thought that it
would come a little bit later.

But obviously, with
this continuation

of this particular narrative
that has to change,

in this country, especially,
I just knew that we're all--

we've reached a pinnacle.

We've reached a level
of just being so

fed up with the
same conversation,

and the same story,
and the same outcome.

And the faces change,
and the faces change,

And the faces change,
and the faces change,

but the outcome's the same.

And nothing gets done, and
people don't get indicted.

And lives are lost, and
families are devastated.

And it's just like, what
the fuck is going on?

And it's not right.

We can all see it's not right.

It's completely wrong.

It's completely wrong.

And I just felt that
we were all in a place,

more than ever before,
to be ready to have

more than ever before,
to be ready to have

this conversation, to
have this dialogue,

and to admit, without
a shadow of a doubt,

that there's a problem--

a real problem.

And I felt like this song
would be the perfect conduit

for that conversation and just
an honest reflection of where

we are right now, today, right
this minute, and unfortunately

have been for the past--

like, beginning of time--

like, beginning of time--

at least, beginning
of this country.

So I wanted us to be able to
connect and have a song that

described the pain that we're
all feeling, that described

the frustration that we're all
feeling, described the outrage

that we're all feeling, and also
just the truth of what we're

all feeling.

And so when it comes to
"Perfect Way To Die,"

written by Sebastian Kole,
who is an amazing, really

written by Sebastian Kole,
who is an amazing, really

special, special
writer and an artist,

he really was
affected so deeply,

like we all were, about
the deaths, or murders,

of Mike Brown and Sandra Bland.

And he started this
song, "Perfect Way

To Die," during that time.

And when I heard the pieces of
what he wrote, I was bawling.

And when I heard the pieces of
what he wrote, I was bawling.

I couldn't believe
how beautifully he'd

captured this emotion
of a mother finding out

that her son was murdered.

And so that was the
genesis and the beginning

of a "Perfect Way
To Die" and being

able to put into words this
journey of two different lives,

able to put into words this
journey of two different lives,

two different
experiences, but both

ending with the
irony of the title,

of there being a perfect way
to die, which, of course,

there's not--

definitely not that
way, definitely

not by the hands of
police brutality,

definitely not in a way that
totally disregards Black lives.

So it's really incredible
to find your way

to express these very
difficult, painful, big ideas.

to express these very
difficult, painful, big ideas.

[PLAYS PIANO]

So she-- it takes you through
the experience of the son,

like a Trayvon Martin.

(SINGING) Simple walk
to the corner store.

Mama never thought
she would be gettin'

a call from the coroner.

Said her son's been gunned
down, been gunned down.

Can you come now?

Tears in her eyes.

Can you calm down?

Please, ma'am,
can you calm down?

Please, ma'am,
can you calm down?

So she is just getting
this information.

As far as she knew, her son was
just going to the corner store,

like he did every day, like
everyone does every day.

And she's called by the coroner
to come down and identify

this body of her son.

And she's going crazy.

And she's going crazy.

She's in pain.

She can't believe
it, that it's him.

And then they tell
her "calm down"

when she has the
tears in her eyes--

so that simple,
direct perspective

that I don't think
we think about a lot,

how it affects the mother,
who has to go find or identify

how it affects the mother,
who has to go find or identify

her little boy or little girl.

And then it moves on to
talk about the city, which

I love how it goes from this
perspective of the mother,

very singular, back and
forth with her conversations.

It's kind of
describing the scene,

describing her world,
which you really feel

like it's her recollection.

like it's her recollection.

And then it moves to the city.

(SINGING) It rained fire in
the city that day, they say.

A river of blood in the
streets, no love in the streets.

And then came silence in
the city that day, they say.

Just another one gone.

Just another one gone.

And the city moves on.

And we're stuck
here singing, baby,

don't you close your eyes 'cause
this could be our final time.

And you know I'm horrible
at saying goodbye.

So back to the mom.

(SINGING) Now think of
all you could have done.

At least you'll
stay forever young.

At least you'll
stay forever young.

I guess you picked the
perfect way to die.

Oh, I guess you picked
the perfect way to die.

And my favorite part of
how this song evolves is it

really takes you from
this soft place--

(SINGING) simple
walk to the corner

store-- it's very
conversational.

store-- it's very
conversational.

You could be talking
to your friend.

(SINGING) Mama never
thought she would be gettin'

a call from the coroner.

And then it goes to this
powerful-- (SINGING) it

rained fire in the city that
day-- top of your lungs.

And then it goes back.

(SINGING) But I say, baby,
don't you close your--

And then the second
time around, the chorus

stays all the way up.

So it gives you this "back
to the conversation" when

it talks about Sandra Bland.

(SINGING) New job,
new city, new her.

(SINGING) New job,
new city, new her.

Bright eyes.

You would've been
proud if you knew her.

Again, this conversation.

Like, imagine you knew
this beautiful young woman.

You-- she was incredible.

You'd have been so
proud for everything

she was going to accomplish.

So it humanizes what's
often painted to be--

incorrectly painted
to be aggressive

and just animalistic.

And it's not real.

And it's not real.

Every-- just a human being.

We're talking about a
human being, you know?

A real person-- your brother,
your sister, your family,

you know?

So I love how it goes back
to that intimate thing,

and then it goes back to the--

that big B section, but
it changes the words.

(SINGING) And they heard
nothing from the city that day,

they say.

And they came watching in
the city that day, they say.

And they came watching in
the city that day, they say.

Carryin' signs in the streets,
cryin' eyes in the streets.

But they heard nothing from
the city that day, they say.

Just another one gone.

Then the city moves on.

And we're stuck
here singing, baby,

don't you close your eyes 'cause
this could be our final time.

don't you close your eyes 'cause
this could be our final time.

And you know I'm horrible
at saying goodbye.

And at that point, the
outrage is so crazy

and the pain is so crazy that
you can't sing it low anymore.

(SINGING) But I'll think
of all you could've done.

At least you'll
stay forever young.

I guess you picked the
perfect way to die.

I guess you picked the
perfect way to die.

Oh, I guess you picked
the perfect way to die.

And then by the time
it gets to the end,

it goes one more time
to, (SINGING) I say,

baby, don't you close
your eyes 'cause

this could be your final time.

And you know I'm horrible
at saying goodbye.

But I'll think of all
you could've done.

At least you'll
stay forever young.

I guess you picked the
perfect way to die.

Oh, I guess you picked
the perfect way.

And it never says "die" again.

And I find this song to be
so remarkable because not

And I find this song to be
so remarkable because not

only does it make a
very complex issue

seem very relatable,
but rarely will you

hear a song climb so high and
then come back down to such

a quiet place.

And that was definitely
intentional to create

that pain and that arc of pain.

And so I think this is one
of the most beautiful songs

And so I think this is one
of the most beautiful songs

I've ever been a part
of and the most powerful

that I've ever been a part of.

And this is when it
feels like there's

something bigger than
any one person that

comes from the magic, the
alchemy of these small amount

of notes, and the voice,
and a story, and a pen.

of notes, and the voice,
and a story, and a pen.

It's like, you need nothing
but a voice, and a pen,

and something to say.

[UPBEAT MUSIC]

So we are in my vocal booth,
and this is the live room.

So we are in my vocal booth,
and this is the live room.

It's called the live room.

Usually there's two
rooms, two main.

Rooms there's a live room,
and there's a control room.

And the live room is
where you do vocals

or where you do live piano
or you do drums or you do,

you know, anything
you can possibly

imagine that wants to be a
bit more ambient and spacious.

And so here's
where we do vocals,

this kind of iso
both that's always

this kind of iso
both that's always

created in the live room.

It's a bigger space.

It's usually a
pretty large space.

And then the iso booth creates
this isolation for you to sing.

And this is where I do
majority of my vocals,

although I do my vocals
pretty much anywhere.

I've done it in closets.

I've done it in
corners of rooms.

You know, we make everything
work and anything work.

And it really also just depends
on the energy and the vibe.

So-- and sometimes I also do
vocals in the control room.

So-- and sometimes I also do
vocals in the control room.

So it really depends.

But today, we want to
focus on the majority

of the time I'm going to cut
vocals in this type of space.

[GENTLE PIANO MUSIC]

So let's talk about how
you can produce yourself,

because, as a producer, most of
the time I'm in a studio alone.

You know, it's me
and my engineer

You know, it's me
and my engineer

and longtime music
partner Ann Mincieli,

who's been with me for--

since the beginning almost.

But a lot of times it's
just the two of us,

and that's how I like
it because it's quiet

and I can concentrate.

I can get things done.

I love that I can just
be in my own world

and be in my own space.

And I find that when I
have to entertain people,

I can't concentrate as well.

But I still find that
there's something

really powerful about
being by yourself.

really powerful about
being by yourself.

It just-- you know, you
just have you to depend on,

and there's something
about exercising

that that's really important.

So the question is, though,
as my own producer, how do I--

or how do you as
your own producer--

how does one flip between
the creative mind that

is wide open, exploring
all the possibilities,

not held back in any way,
and the editing mind that's

not held back in any way,
and the editing mind that's

thinking about, OK, how
do I put this together,

how do I make this great?

Usually what I do
is I really step

into the booth
with an open heart,

and I just want to
explore anything

I hear, anything I hear at all.

I go for it.

I try it.

I try to find it.

I listen for it.

Mm, man, I hear this
crazy ninth harmony

over here, this one section.

I'm going to try it.

Sometimes it's amazing.

Sometimes it's amazing.

Sometimes it's like,
mm, that's too much.

And right away, I know.

Like, right away in
my spirit, I know.

If I love it, I keep it.

If I don't love it,
I get rid of it.

That's just-- I go with
what I love always.

And so-- and then I allow
myself just to play.

I play.

I really try hard to
be free, you know?

I really set the
environment so that I

can be free, that I can try
anything I can imagine or think

of.

I can mess up.

I can sound horrible.

I can sound horrible.

My voice can crack.

I can be off.

I can be flat.

I can be anything.

I am in the moment
without feeling

like somebody's judging me
or watching me or thinking

about it.

That's a big deal.

That makes a difference
between OK songs

and unbelievable
timeless songs--

that freedom.

So I definitely do that first.

And if I'm feeling
uncomfortable, trust me,

I will ask a person to leave.

And I do it nice.

But I'm like, do you mind
giving me a few minutes?

But I'm like, do you mind
giving me a few minutes?

Because if I feel an energy
from a person that just doesn't

feel right, you gotta speak up.

So don't hold your tongue,
especially with creativity.

It's only one moment.

You only have one time to
really capture that pure energy,

you know?

After a while, you do it
100 million different times,

it's going to shift the energy,
that pure, natural thing.

So clean your space.

So after my space is claimed
and my own, I just fly.

So after my space is claimed
and my own, I just fly.

I just totally go crazy.

So then, when I've
done everything

I can think of, every
part, every, you know,

splatter of paint that I
can imagine, I step away.

I, you know, take a break,
go have something to eat,

catch up with my friends,
my kids, whatever.

And then I'll go into the
control room, and I'll listen.

And when I listen on that
other side of the glass,

And when I listen on that
other side of the glass,

I listen from my producer
ear, from my arranger ear.

And I can hear right
away what I love.

Oh my gosh, that's beautiful.

That works.

I hear, OK, that works,
but it's too loud.

If it was less prevalent,
you would feel it, you know,

and that would be all you need.

Uh, that part doesn't really
work how I thought it was.

Let me make a note to go
back in and try it again.

If there's parts
on the lead that I

feel like maybe aren't as
strong as I thought they were,

feel like maybe aren't as
strong as I thought they were,

I'll make a note.

I'll fix them.

Or I'll check my
other takes that I did

and see if I can swap it out.

And so I really listen in
that way with the producer

and arranger hat on, and
I make the adjustments,

and I start to craft it
so that it goes together

and make any changes
that need to be made,

and that's the way that I
can produce myself and also

be free from my own critique.

[GENTLE MUSIC]

[GENTLE MUSIC]

A lot of the songs
that I've done,

nobody thought that
they would work.

They were not on trend.

They were not easily
placed in the radio spot

after the latest
hit of the moment.

They were all quite rebellious.

They were all quite rebellious.

And they were renegades
in their own right

because they just had a
sound that was different.

And we actually
always had to work

really hard for the records
to have their just due

and to have their opportunity.

"You Don't Know My Name"
was a seven-minute song.

You know how long songs are now?

You know how long songs are now?

Two minutes 15 seconds max.

Imagine a seven-minute song.

It was completely-- it
was completely rogue.

But the vibe was so good, and
the style was so good and that

mixture with me combining with
Kanye and this kind of, like,

soul/hip-hop zone that's
completely my world--

because, you know, we
said it's soul, hip hop,

and classical that kind
of creates the energy that

and classical that kind
of creates the energy that

I'm personally inspired by.

And I had to figure out 100--

you can't imagine how many edits
I had to go through to just get

that thing on the radio at all.

They weren't going to play
a seven-minute song, period.

So I had to, like--

OK, how can I keep the
soul of the song and--

and "Fallin'," are
you kidding me?

People thought I
was 65 years old.

I was 17 with a big
voice and an old soul

and a different style
and a different vibe,

and a different style
and a different vibe,

and it took so much for
people to understand

how to make that make sense.

And "No One," you should have
heard the beginning chatter.

What is this?

This isn't even Alicia.

Doesn't even sound like Alicia.

Who is it?

They didn't get it.

It didn't sound
like anything else.

And that's a really--

it's hard sometimes 'cause
it makes it a much more

interesting, challenging road.

interesting, challenging road.

But I'm proud of those songs
and all the people that

helped me make that come
alive into the world and then

the people in the world that
love them and make it grow,

you know what I mean?

Because you never know.

It could just end up being a
song in your bedroom, which

is also very, very
important right

away, because the songs that
you write in your bedroom

lead you to where you're going.

lead you to where you're going.

But I just wanted to say
that because the more unique

you are and the more one of a
kind you are and the more you

do break the rules and the more
you do cross the boundaries

and the less you
follow other people

and the more you create your
own lane, your own sound,

your own style, your
own look, your own feel,

your own perspective--
and that brings us

back to what we said
at the beginning,

that you are the
only one like you.

And sometimes, honestly--
I'll be honest with you--

And sometimes, honestly--
I'll be honest with you--

I have to stop and
remind myself that.

I'm like, uh, Alicia, you're
the only one like you,

and you're needed,
just like you.

So I just wanted to bring that
up because it's not always

just a--

it's usually never
some kind of easy road

that just poof, poof,
poof, and boom it's magic

and it's all great.

You know, you usually
have to work pretty damn

hard to make it happen.

hard to make it happen.

And it's all good.

Once I have the basics of
what I'm going to create,

that's when I'm ready to start
to experiment and try it.

Usually how it goes is
I'll write the song,

generally get the most parts
that I feel really good about,

work on the lyrics,
work on, you know,

work on the lyrics,
work on, you know,

how it goes so that when
I'm sitting at the piano

I love it just at the piano or
I love it just at the guitar

or I love it just
banging on the sink.

Whatever the case is
is like I strip down.

Do I love it in that
stripped-down way?

And then I come and
start to arrange vocals.

I actually love vocal
arrangement so much.

It is such a special
part of my process.

It is really a big reason
where the energy comes from,

It is really a big reason
where the energy comes from,

where the emotion comes from,
where the joy comes from,

where the darkness comes from.

There is so much.

To me, it's like the colors.

You know, if writing the
song is like the sketch,

to me, the arranging the song
and particularly the vocals

is like painting it.

It just comes alive.

So, again, it happens a
hundred different ways.

Some people come right into
the booth and freestyle

Some people come right into
the booth and freestyle

words and lyrics and
melodies, and that's

how they-- and then
step away and write it

and come back and finish it.

Me, I usually write it,
really have a good idea of it,

then come in and
start to cut it.

So I'll have had a basic
track going at this point.

I'll have put the piano down.

I'll have dropped
some type of drum

behind it just so
that I can feel it,

and then I start to
go at the vocals.

So usually I'll do
the lead vocal first,

So usually I'll do
the lead vocal first,

and it really depends
on how I feel.

"Fallin'", since it was
one of my first songs,

we actually recorded
"Fallin'" onto tape,

which is so amazing because now
obviously everybody is digital,

and you go straight to Pro
Tools or you go straight to, you

know, whatever it is that
you're recording it on.

But it's usually not tape, and
obviously all the greats that

have recorded in
the past-- you know,

have recorded in
the past-- you know,

Isaac Hayes and Curtis Mayfield
and Nina Simone and, you know,

all of the incredible people--

Jimi Hendrix, on and
on, name, name it--

were all onto tape.

And so when you actually
hear this particular vocal,

you can hear the tape.

And how I hear it, you
can hear the thickness.

There's a thickness, a
fatness that it's almost

a part of the sonic that
if you listen to this song

maybe compared to another
song that wasn't on tape,

maybe compared to another
song that wasn't on tape,

you can kind of hear
there's a space almost.

So it's really cool.

And there's actually
been times where

we've taken vocals or taken
drums or taken different parts

and run them through tape
even now just to create that,

like, fatness.

So that's a little trick, but
it's kind of hard to find.

Like, tape is almost obsolete.

So it's pretty
awesome when you can

find the little vintage
moment, catch a vibe.

So this one was on tape.

So this one was on tape.

And I started at the beginning.

I can imagine, if I'm taking
myself back to "Fallin'", I was

probably pretty
nervous, to be honest.

You know, it's like this is the
very beginning of all things.

This song came kind of at
the end of recording "Songs

in A Minor."

So I definitely had a lot
of songs under my belt

and had a little bit of a flow.

So my confidence was definitely
higher than at the beginning,

but I'm sure I still
felt a little uneasy,

but I'm sure I still
felt a little uneasy,

a little awkward.

And again, like I
said, I'm an advocate

for uneasy and awkward.

I think that when you
feel out of place,

you're onto something.

You're about to make magic.

So it's kind of cool
that that happens,

so don't be afraid
of the uneasy part.

So I come in, and I start.

Sometimes I start at the--

obviously I always
start at the top,

but sometimes I decide
to do it in chunks.

Depends on the song.

I'll decide, like, let me
take the top of the song

I'll decide, like, let me
take the top of the song

and stop right before
the first chorus.

This song really had a fluid
lead that really carries it

all the way through, so I sang
this one from top to bottom.

And then I'll come back.

I'll do maybe 5,
6, 7, even 8, 9,

10 takes like that until I
start to feel really warmed up,

until I really start to
feel like my voice is

in a good place.

And then I'll come back
and I'll spot check.

So if there's a
piece of it that I'm

like I hate how that sounded,
I'll grab that again.

like I hate how that sounded,
I'll grab that again.

Or if there's a moment that
I feel like, you know what?

That's a little
flat or whatever.

I'll grab that again.

So that's kind of how I do it.

And then I come back around for
the painting, my favorite part,

which is really thinking how
can the vocals that I put

on this on top of the lead
really accentuate it and make

it stronger?

So we talked about that this
song has a lot of drops.

So we talked about that this
song has a lot of drops.

Like that's a lot of
the intention of it.

It has drops, and then it
falls back in, you know?

And part of that is
definitely to grab you,

and so you pay
attention to the part.

(SINGING) Sometimes I love you.

Sometimes you make
me-- (SPEAKING)

you know what I mean?

So it's going to always give
you like an "uhn," and then

it's going to drop
back into the thing.

So I decided to
accentuate those parts.

Sometimes I harmony right
here and then nothing.

So it kind of is a feeling.

So it kind of is a feeling.

You know, you kind of
know what you want.

But most at the time when
I'm creating and arranging,

I love to build.

Like, I really want
to feel the build.

I want to take it from
a place that feels small

and lead you to a place
that grows and grows.

And even if it's so subtle
that you don't realize

it's happening, by the time
it gets where it's going,

it's grown, and I feel
like that's a really--

it's grown, and I feel
like that's a really--

it's a trademark for
me, and it's something

that I find is a
great technique.

It just really, really works.

So in this song,
you know, I have

those spot hits where
harmonies come in

and you'll start to hear it.

And the first time
a harmony comes,

maybe I'll just do a tenor.

Like, I'll have the main note
and I have the tenor note,

and then that's it.

And then maybe that
same part comes around

in the second verse.

And if it comes around
in the second verse,

I'll take the tenor.

I'll take that main
note, and then I'll

put a soprano on top, you
know, so that each time you're

able to hear more, feel more.

able to hear more, feel more.

The punch is stronger.

And then it really
depends on where

it goes from there
because sometimes I'll

put a note in that
you can't even hear,

and I'll say I want to feel
it more than you can hear it

because it's just the mere
energy of the note being

there that gives you something.

You know what I mean?

So again, sometimes it doesn't
even have to be obvious.

This song, it
starts to grow a lot

when it gets to the
bridge. (SINGING) I--

I-- I--

I'm fallin'.

So that part is the part that I
imagine kind of the more people

are chanting, the more
people are claiming,

singing this emotion.

And it was actually all my voice
on there, every single stack.

Usually it's somewhere
between eight--

four and eight.

I'll usually stack
four and eight vocals

when I want to start making
a part be very significant.

I'll even go to 16, but
that's where it's really big.

I'll even go to 16, but
that's where it's really big.

Or sometimes I'll do 16
and tuck them way far,

like especially when
it's oohs or ahs.

Like if you listen
to Marvin Gaye a lot,

you'll notice that he has all
these oohs and hums and ahs,

and a lot of times he'll
follow the string line.

I break him down a
lot because vocally

I think he's one of the
most interesting arrangers,

vocal arrangers that,
you know, exist.

So he'll follow the string
line with his voice.

So I learn from him,
and I will take things

So I learn from him,
and I will take things

and I'll take string-sounding
vocals and I'll tuck them way

in the back.

So these are all just
different techniques

and layers and things
that make it interesting.

But for "Fallin'", it's
very straightforward.

And so that choir where
it's saying I'm fallin'

is all my voice, and all those
harmonies are all my voice,

and all those sopranos that
make it build and build

is all my voice.

is all my voice.

And at the very end when it
comes to that last chorus,

I actually brought in some
unbelievably powerhouse

superstar vocalists
to sing that end part.

I was with them.

They were singing along
with me, but there

was something about
the way another tone,

another voice besides my own
added to the energy of the end.

another voice besides my own
added to the energy of the end.

And so if you listen at the
end when (SINGING) I keep on,

(SPEAKING) it sounded
like the whole choir

of the entire
universe is in there.

It's because the
variety of tones

of these different vocalists,
including me, creates

like a whole other experience.

And I just chose to do it.

They came in a
little bit on some

of the small parts in the
second verse if you listen,

but they're really
featured at that end.

but they're really
featured at that end.

And that's because
we wanted that end

to really go home and
take it big and strong

and really make the point.

I want to show you in
"Fallin'" how it sounds.

Actually, I'd love to play
a capella because you never

get to hear, you know--

when I hear back to
Marvin Gaye, when

I hear Marvin Gaye a
capellas I'm, like, dying.

It just sounds so good.

And I'm imagining him, like,
in the booth or on the floor

or wherever he was at
the time just singing.

or wherever he was at
the time just singing.

So we're going to play
it, just the vocals,

the second verse of "Fallin'"
so I could talk you through it.

[MUSIC - ALICIA KEYS, "FALLIN'"]

(SINGING) Loving you.

Ah, ah, ah.

Never felt there's a way.

(SPEAKING) So as I was
saying, this is that vocal--

(SINGING) How you give
me so much pleasure--

(SPEAKING) --on tape.

(SINGING) And cause
me so much pain.

Yeah.

Yeah.

(SPEAKING) A lot of times I will
answer myself when I'm singing.

It's like energy.

(SINGING) I've taken
more than would a fool.

(SPEAKING) I picture it
like a rapper doing his ad

(SPEAKING) I picture it
like a rapper doing his ad

libs or her ad libs.

That's my little ad libs.

(SINGING) Back in love with you.

(SPEAKING) So small harmonies.

(SINGING) I keep on
fallin' in and out--

(SPEAKING) So that's
all me, all my stack.

(SINGING) --of love with you.

(SPEAKING) On that love--

(SINGING) I never--

(SPEAKING) --I started bringing
those additional background

voices.

(SINGING) When I--
when I-- loving you--

(SPEAKING) That's the first
time you're introduced to them.

(SINGING) I-- I--

(SPEAKING) And all
this is just me.

All the stacks are
just going to be me.

All the stacks are
just going to be me.

[HARMONIZING]

Third up.

(SINGING) I'm fallin'

(SPEAKING) And then
switch it with the round--

(SINGING) Fall-- fall--

fall--

(SPEAKING) --to
really accentuate

that feeling of falling,
big harmonies, tenors.

And then here comes
the backgrounds.

(SINGING) I keep on fallin'
in and out-- out-- of love--

love-- with you.

(SPEAKING) I'll never forget
the day they sang this.

(SPEAKING) I'll never forget
the day they sang this.

(SINGING) I never-- never--
loved someone-- loved--

the way that I--

I-- loving you.

(SPEAKING) So you hear their
tone is different from mine.

(SINGING) I'm fallin' in and
our of love-- --of love--

with you-- with you.

I never-- no-- loved someone--

no, no-- the way
that I loving you.

(SPEAKING) Awesome.

Thank you.

So you hear the
difference in the way

that it grows and it started.

Even on that second verse,
it started pretty simple.

Even on that second verse,
it started pretty simple.

There's pieces that come in, my
voice answering in small ways,

not overdone, little
introductions of this big group

that's coming on just the--
(SINGING) the way that I--

(SPEAKING) just on the I or
just on the love, you know,

just little introductions
or ways to--

little premonitions
of what's to follow.

And then at the end, boom, they
come in and they take over.

So that's a little
bit about what

I was trying to explain with
the way you can layer it,

I was trying to explain with
the way you can layer it,

the way that you
can play with it,

different tones on
top of each other,

things that just give it
personality and energy,

and also the pieces
vocally that actually

accentuate what you're saying.

So that falling-down feeling
in the voice, you know,

mimics the feeling that
it's talking about.

So that's a little
"Fallin'" deep look.

There are days when I am
very critical of myself,

or when, I don't know, it's
just like energetically things

aren't exactly flowing.

Or I've noticed that it's like--

I'm swimming upstream, or
that it's really difficult

to get the right tone.

Or my voice is not feeling as
good as I would like it to.

Or my voice is not feeling as
good as I would like it to.

And on those days, I really--

I really tried to pay
attention to that.

And I've learned how
to just back off.

I will say you know what?

This is not the day to
do this particular thing.

Maybe I need to do--

you know, try to
write something else.

Because maybe I'm
feeling something,

or maybe I need to work on
the music of it, or something.

But I have also learned
that there are days when

But I have also learned
that there are days when

it might just not be right.

The magic is just
not quite there.

And it's OK to just kind
of say I'm good today.

Let me come back.

My secret is that you always
leave when it feels good.

You stop before it starts to
feel like it's not going that

well, or whatever.

Because that energy
retains itself.

And when I've gotten to a
place where I've pushed myself

too far, and then the
energy starts to shift,

when I come back to
that song another time,

when I come back to
that song another time,

I have a feeling already
in my DNA about it.

And it can ruin that
ability to be so free.

So one thing I definitely
think is imperative

is I warm up very, very,
much before I start to sing.

And it really
makes a difference.

There's mostly scales, you
know, and mostly different tones

in your voice.

in your voice.

A lot of things that
kind of sound like birds.

[WARM UP NOISES]

It's pretty funny.

And I'm in the car, or I'm
in the house doing my warm up

they're like ah!

But so what?

It's good for me.

So it's a lot of different
things like that,

and just opening the
palette, and the soft palate,

and just opening the
palette, and the soft palate,

and allowing it to
you know, really just

become warmer and warmer.

And it really
makes a difference.

It makes a huge difference
on the tone of my voice,

on the control of my voice.

Obviously, the
protecting your voice,

and allowing it to be safe.

That's another really good
trick and technique that

is a little bit of a lost art.

You know?

Like really protecting, and
growing, and strengthening

Like really protecting, and
growing, and strengthening

your voice is really
important and powerful, so

that it could last forever,
and ever, and ever.

Another cool thing
that we do a lot of

is I usually use similar--

I use a similar
group of microphones.

Like an M16 is this one,
an SM7 for a little more

vintage sound.

vintage sound.

I even use like a
regular stage make, a 58,

at times if we want to.

And then there's
other microphones

that of course, we
try out and use.

But what I like
about what we do,

myself and my
engineer, Anne, is we

test out different
compressors and check

how does that mic fit
with that compressor.

And for that feeling of that
song, which is really cool.

So even exploring
that, and experimenting

with that, plug-ins or
virtual compressors and things

with that, plug-ins or
virtual compressors and things

like that, and sonics and
sounds, is really cool.

Because you get a
chance to see what would

different things sound like?

And experimenting,
and exploring,

and how it fits the song.

So I love that, and that
makes a big difference

to what you end up
hearing, and the vibe

that it creates and captures.

This is one of my
favorite, favorite

This is one of my
favorite, favorite

not only just songs of all time.

And that I've ever written,
but just the vocal arrangements

on this song are so good.

Because they're subtle, but
they're very, very present.

And if you actually
had a chance to listen

to the a capella, which I'll
play for you a little bit

later, you'll see that
from the top of the song,

from the very beginning of
the song, I have like three--

three different harmonies
going on right at the top.

three different harmonies
going on right at the top.

(SINGING) I just want you--

Boom.

In.

But they're so hidden,
and part of the feeling

and the emotion, that you
don't even know they're there.

But they're there
the entire time,

and it's these
beautiful clusters

of harmonies that are following
me throughout the whole song.

And then there's these
very specific parts where

I've just had one harmony note.

And I almost treated
it almost like robotic.

And I almost treated
it almost like robotic.

I remember when
I was singing it,

I wanted it to sound
almost like a robot.

(SINGING) Everything
going to be all right.

Everything going
to be all right.

And I wanted it to just
be kind of like the way

that it sounded, juxtaposed
with the emotion of that

vocal sounded like it
was going to break.

There's something
about like the robotic

with the emotion that really
cut through in a cool way.

So I love those
parts in this song.

So I love those
parts in this song.

And as it keeps growing,
like at the beginning,

you'll see that there's
this cluster of harmonies,

and then on the second verse
comes back again, right away

that cluster.

And by the time the
B section comes--

(SINGING) You and me together.

--the cluster starts
to slight movements,

where like that third
note will maybe move up,

major, come back down minor.

It's like these tiny
little crosses and things

It's like these tiny
little crosses and things

that are happening
underneath that whole thing

that you don't even
know, but you feel.

So when it starts to
lift in those ways

that you'd feel it
growing, part of it

is not only the music, not
only the vocal, the lead,

but it's like these
backgrounds kind of pushing it.

As if I was playing chords.

As if I was playing
a Rhodes, or I

was playing a pad, or
something that kind of was

underneath the song, my voice
became that pad, became that--

became that-- you
know, that tension.

became that-- you
know, that tension.

And that push, and
it's my favorite.

Because I remember that the
experience of just expressing

the backgrounds in this
song was almost just

as exhilarating
as that main lead,

and singing that strong,
chorus and everything.

So this song is all my
voice, all of this stacks,

and all of the pieces fit
together are my voice only.

So this-- it just felt right.

But that's also why
I started to change

the tone of even my voice.

the tone of even my voice.

So when I talk about
that robotic sound,

it gave it like a
slightly different tone

than my normal one.

And so it could cut
through in a way that

felt a little bit different.

And then I love how most of the
song is very almost repetitive,

the chord progression
is quite repetitive.

And then at the
bridge, it totally

flips, which you know
is what kind of makes

it breathe, and makes us switch.

So if the main chords are that.

Let me go down here.

That's the main chords.

And then-- and then the bridge
just completely shifts from it.

And I think that gave
it a beautiful break,

like a space where it
could grow, and just

change into a different thing.

And then come back to
that favorite progression.

And then of course,
the all time favorite,

favorite, favorite,
vocal of this song

favorite, favorite,
vocal of this song

is the end, where
everybody is chanting.

(SINGING) Oh, oh, oh.

And you can just kind
of like go all in,

and just sing it, and
feel like you remembered

that everything's
going to be all right

is my favorite, favorite vocal.

And Crucial, my partner who
also produced this song with me,

and wrote it with
me as well, he did.

(SINGING) Oh, oh, oh.

And that ended up being like
a huge part of the song.

We were just in here
having a great time,

We were just in here
having a great time,

and got to that part.

And he was doing that naturally.

And I was like, you
got to come do that.

And it was in there.

So even in there, when
you hear that energy,

it feels like a celebration.

It feels like something
that you can just

lean into, and let go with.

So I think that's
why that's definitely

a favorite part of the song.

And even in the middle.

(SINGING) You, you.

And that keeps coming around.

(SINGING) Getting away
what I feel for you.

That-- that's another
thing that just keeps--

That-- that's another
thing that just keeps--

keeps, it keeps coming back.

So you want to sing again.

The oh expression
of oh just works.

I don't exactly know why.

There has to be some
scientific explanation.

I truly believe if some
scientists broke down

something about us, we would
discover that these ohs just

have a, you know, sound is
such a powerful current.

have a, you know, sound is
such a powerful current.

And it really does
affect your emotions.

And it's incredible.

But there's something
about that way, it's not--

because if I went--

(SINGING) Oh, oh.

--it wouldn't have
felt the same.

If I went--

(SINGING) Ah, ah.

--it wouldn't feel
the same, either.

It's--

(SINGING) Oh, oh, oh.

Oh, oh, oh, oh, oh, oh.

It's just like damn.

It's just like damn.

That-- isn't that so crazy?

Like literally any other vowel
would just not have worked.

So let's bring
the scientists in.

Come on, scientists.

Talk to me.

[LAUGHTER]

WOMAN: Oh, give
me a little song.

(SINGING) Oh, oh, oh.

(SINGING) Oh, oh.

Oh, oh.

No, bro.

That's not it.

(SINGING) When the
rain is pouring down.

And my heart is hurting, you
will always be all around.

Yes I know for certain.

You and me together,
through the days and nights.

I don't worry
because everything's

going to be all right.

People keep talking, they
can say what they like.

People keep talking, they
can say what they like.

But all I know is everything's
going to be all right.

No one, no one, no one can get
in the way of what I'm feeling.

No one, no one, no one.

--just one single
voice, that harmony.

(SINGING) Can get in the
way of what I feel for you.

(SINGING) Can get in the
way of what I feel for you.

You, you, can get in
the way of what I feel.

Can you go to the last chorus?

(SINGING) Some people
search the world.

No one, no one can get in
the way of what I'm feeling.

No one, no one, no
one can get in the way

No one, no one, no
one can get in the way

of what I feel for you.

Oh, oh, oh.

Oh, oh, oh.

Oh, oh, oh.

Oh, oh, oh.

Oh, oh, oh.

There you go, the eh, eh, ehs.

There you go, the eh, eh, ehs.

Yes, so what we were actually--
with that actually reminded me

of, too, is that I did use
a Vocoder synth to sing

through the vocals at the end.

So that also contributed
to that robotic-ish sound

that I was talking about.

(SINGING) No one.

And it just created another
tone in those backgrounds,

and in that painting of the
arranging and the vocals,

that just was a totally
different sound.

And I love that.

And I love that.

I love using the Vocoder
for that kind of magic,

which in a lot of ways is--

a lot of times what autotune
is actually replicating

is this Vocoder sound.

Which is really a
cool cool, thing.

And the actual way,
I use a microphone

and play the piano to
make the chords from it

while I'm playing it.

So it's a really
sick instrument,

and I'll actually show
you that a little bit more

and I'll actually show
you that a little bit more

when we get into
the production side.

It just creates a whole world.

So I think that's--

that's the secrets to "No One."

I don't know if
I 100% can tell you

what makes a good anthem
or how to make an anthem.

You don't know a
song is an anthem.

You don't know a
song is an anthem.

You know that it feels great.

You know that you love it.

You know that there's
something so special about it.

This I know.

With all the songs that I think
of, even like a "Girl On Fire"

or "No One," "Empire," you--

each time, I knew there
was something magic.

Like, I knew it, and I knew
it while it was being created.

And I felt this
energy that I was,

like, something's happening.

Like, I literally felt like
something's happening, like,

Like, I literally felt like
something's happening, like,

as if I was in a
laboratory and something

was just about to explode from
the mixing of all the things.

But I'm not sure
that I could say

during the creation
of these songs

that I knew exactly what it was
that would make it an anthem.

And I actually-- personally,
my people are different.

You be you.

But I personally feel that
there is something almost not

But I personally feel that
there is something almost not

quite right with me claiming
that this song is an anthem.

Let me rephrase that
because I'm very, very big

on the power of words.

I think you should
claim everything.

You want to make
an anthem, you say,

"Today I am going
to make an anthem.

I am going to create a powerful
song that the entire world can

sing at the top of their lungs.

It's going to have all the
parts I needed to have,

and it's going to say exactly
what I need it to say."

and it's going to say exactly
what I need it to say."

You should claim what you want.

What I mean, though, is, I find
that there's a humility, like,

a respect, a deep respect
that I have for the music,

for the alchemy, for
the creative process.

And I almost feel
like it stunts what

it can become if I'm already
telling it what to be.

And so I feel very particular
about claiming certain things

And so I feel very particular
about claiming certain things

about the music, as
opposed to just allowing

it to develop and be and
become and find it and feel

it and feel amazing about it.

So I think that that's
what I meant by that.

Now, looking from
hindsight, I could tell you

what makes that song an anthem.

Because now it's an anthem,
and I know it's an anthem,

so I can talk
about it like that.

But in the moment that I
wrote it, if you asked me,

But in the moment that I
wrote it, if you asked me,

"Is this an anthem?"

I would say, "I am not
here to decide that."

Like, I love this.

And that's what
matters the most.

I have put everything into it.

So now, looking back, I think
that what makes it anthemic

and what I recognize is, a lot
of pieces of a lot of my songs

that I didn't know I
was doing intentionally,

but now that I can look back
at a lot of them, there is a--

but now that I can look back
at a lot of them, there is a--

for this particular
song, there's

something that I like to call--

it's like a sad triumph.

And there's something
about the songs that

have this hopeful feeling,
but they want to make you cry.

And to me, that's what
"No One" does for me.

It's talking about how
we're going to make it,

and we're not going to
listen to anybody else.

It's going to be all right.

It's going to be all right.

But part of it feels sad
while it feels hopeful.

And I think there's something
about that rub that really

works in the human psyche.

I also think the piano
is really recognizable.

You could play it on guitar.

You could play it
on piano, or you

could play it on a keyboard.

You could play it on a
little dinky, whatever.

And you're going to know a
million percent that that's

the "No One" piano line.

the "No One" piano line.

I think that is a big deal.

Also that accentuation of
the base, which is a Jupyter.

It's a particular
kind of keyboard.

It's a vintage
keyboard, and we're

going to talk about that
later in the production

side of everything.

But it created such a unique
sonic (SINGING) wank, wank,

wank, wink, wink, that it
automatically, you would--

it was an unforgettable part.

And so it was another hook.

So I think I've discovered
that part of what

makes these songs feel
anthemic or songs that you

makes these songs feel
anthemic or songs that you

know that you'll know forever,
they have these hooks.

And they have multiple hooks.

So not only is it the chorus
that's able to say, (SINGING)

"No one, no one, no one,"
that's easy to remember,

great hook, but there's
all these pieces

that also are the
hook that create

this memorable experience.

So "No One" is about no one
stopping this unbreakable bond,

this unbreakable love,
this powerful connection.

And that even though
times get tricky or hard

or even when people
have something to say

or negative energy
is trying to enter

the space of this
beautiful connection,

that they can see
what they like,

that they can see
what they like,

but everything's going to
be all right, you know?

All I know is everything's
going to be all right

because no one can get in
the way of what I'm feeling

and get in the way of
how I feel for you.

So it's definitely--

I think it's really
talking about,

you know, that unbreakable
bond, that very powerful

love that is indestructible,
that, really, nothing

can penetrate,
and that even when

can penetrate,
and that even when

times feel challenging
or difficult or hard,

you know without a doubt that
it's all going to work out.

So, again, I think that's
another part about the--

that sad triumph that
I kind of talked about.

It's, like, all in there.

The complexities are
what make it, you know,

have that feeling.

have that feeling.

But it's also what makes
it so relatable because who

doesn't want to feel
like everything's

going to be all right?

Who doesn't need to
feel that no matter

what, it's going to work out,
that it's going to figure it

out and find its way through,
and that there is a love that

exists that is more
powerful than anything that

tries to destroy it, you know?

So I love that song so much.

And no matter how many times I
sing it or hear it or anything,

And no matter how many times I
sing it or hear it or anything,

it never loses its
magic ever for me

because I always
need those words.

I always need to remember
that everything's

going to be all right.

Retro-futuristic is the
way that I describe my music,

the way that I describe the
style of music that I'm really

attracted to.

It's this ability-- you know,
have a healthy, heaping amount

of this classic sound, this
classic style of writing,

this classic, sonic--
a timelessness

this classic, sonic--
a timelessness

that I feel comes with some of
the greatest errors of music,

which, to me, is the
'70s and also the '90s.

And there's obviously
many great eras of music,

and everyone has their own
opinion about what that is.

But for me, the '70s is a
really powerful era for music.

It was very, very progressive
and really beautiful,

really musical.

You know, the amount of
instruments that were in songs

were just impressive,
incredible-- horn sections

were just impressive,
incredible-- horn sections

and string sections
and all kinds

of different types of
bass guitars and pianos

and Wurlitzers and keyboards
and experimental experiences

and effects and styles.

And it was just very,
very rich to me.

And so, a piece of that
richness and bravery

and boldness of the musicianship
and the instrumentation

of music and also
the songwriting that

was very catchy, very, very
emotional, very powerful, mixed

was very catchy, very, very
emotional, very powerful, mixed

with the future, which is,
like, all the plug-ins,

all the virtual sense,
all the new drum programs,

all the drums sonics that
have a certain heaviness, that

have a meat to them that you
just won't be able to get out

of a live kit, you know, sounds
that you can create yourself

with your own fingers and
hands that you can, you know,

make almost sound like it's
coming from another galaxy.

make almost sound like it's
coming from another galaxy.

It's all of these, like,
new things that you create

and a heaviness and a
thickness and a strength that

comes with where
we are currently

in a more modern
musical landscape

mixed with this retro
timeless classics style

and put them together.

And I think you just get
the best of both worlds.

I was introduced to soul
music just because it's always

I was introduced to soul
music just because it's always

been such a fabric in our home.

My mother's always
played so much music.

It's just, like, a
fabric of everything.

You can't even escape it.

I remember being
introduced to Nina Simone.

That was, like, a
big, big deal for me

to see a Black woman playing
classical piano when you just

don't really see many Black
women playing classical piano.

So for me, as a young Black
woman playing classical piano,

So for me, as a young Black
woman playing classical piano,

I was like, [GASPS] who is she?

What is she-- what is she?

And not only was she
playing, she was destroying.

Like, there's a
difference between playing

and Nina Simone.

Nina Simone destroys the piano.

It's, like, you can't
even believe it, you know?

And I was so taken by that,
and then also her strength

and her almost--

she almost had, like,
an aloofness about her

she almost had, like,
an aloofness about her

that was very intriguing.

You know, discovering
her, I think I just--

I don't even remember how.

But I do remember
it was a video.

It was definitely a video
because I was in awe.

I was shocked.

I was like, just
watching her and stunned.

And then, Marvin Gaye I
remember being introduced

to definitely through my
parents and my friends' parents

and stuff like that.

But, again, just specifically
the "What's Going On" album,

But, again, just specifically
the "What's Going On" album,

I was so shocked
and taken by the way

that every song connected
to the next song.

I mean, talk about classic and
classical and themes and sweets

and, you know,
all of these ideas

that you might see
in classical music.

Man, the way that he took
that on and then created it

in such a soulful,
heart-stirring way with topics

in such a soulful,
heart-stirring way with topics

that were really
timely and still

remain so relevant and
just so blatantly honest.

He was just literally
so honest about himself.

And even the parts that
one would think you

would want to hide from
the world, he was just so--

shared it.

So, him-- there's just no other.

And then other artists
like Patrice Rushen,

another amazing piano player.

another amazing piano player.

Or Etta James was just a
voice that's just, like,

the most raw, rugged, rough,
beautiful, genuine voice you

ever heard, you know.

And then so, so, so many others.

It's just, like, a million
incredible artists and groups

like The Moments and The O'Jays
and Earth, Wind, and Fire.

And it just goes
on and on and on.

It's crazy, crazy how
good the music is.

It's crazy, crazy how
good the music is.

And obviously, we learn
about them from samples,

too, so I would hear
a favorite sample

and be like, who is that?

And then hear the
original record

and then go crazy
because it's even better.

'Cause it's just one part
of a whole amazing thing.

When did I start describing
it as retro-futuristic?

Maybe about the third album,
which was called, "As I Am."

Maybe about the third album,
which was called, "As I Am."

And I really started to
explore a lot with sonics.

And also, you know, my engineer,
Ann Mincieli, and music

partner, she's also,
like, really a fanatic.

And I think it's been
a beautiful partnership

between us.

Because as an engineer and as a
woman who really crafts sonics

when she records and
records me and records

all the things that
she records, and then

all the things that
she records, and then

me loving the songwriting
styles and producing and putting

the sounds together
to make them,

it was this experimental space
where we were experimenting

with different
sounding drum machines

and vintage drum
machines and also,

you know, like, different
keyboards and clavinets

and all these kind of
crazy musical experiments.

But we've put them
through guitar amps,

But we've put them
through guitar amps,

and we've put them through
little, tiny, like, record

playing sound and the record
player sounding things.

Or we'd put them in a bathroom.

Or we'd put extra delay pedals
or whatever the case was.

It was, like, this experimental,
really out there, crazy thing.

And it became so fun to figure
out where sounds could come.

This thing called the
Mellotron, which is crazy.

It's-- and a lot of them were
new versions of old vintage

machines.

machines.

So, you know, it's, like, an
exploration and a process.

And so during that
very experimental time,

I feel like I could really
start to see my fascination

with music from the '70s,
culture of, you know,

that very classic vintage
time, and then mixed

with my love of hip
hop, mixed with my love

of the current energy and
modern edge of everything.

And putting it all
together, I just

was like, this is definitely
future vintage, vintage future.

was like, this is definitely
future vintage, vintage future.

It's like, this is it.

This is-- I love it.

This is what I want.

This is the sound.

It's a mixture of live and
programmed and all these--

this cacophany of sounds
all together in one place.

It just really
describes all the things

that I loved and put it into me.

Boom.

We are here in the
control room, and this

is where so much magic happens.

We're going to talk
about production.

We're going to talk
about production.

We're going to talk about
the alchemy of music.

Really, the process of how
we put together different

sounds to support the
creation of a song.

And this is one of my
favorite things to do,

my favorite place to
do it, because there's

just it's an unlimited crayon
box of colors and paints

and things that you can
put toward your vision

and your manifestation.

So I love that it
becomes real here.

And a lot of times,
when I'm writing a song,

And a lot of times,
when I'm writing a song,

it happens many ways.

Sometimes, I'll write
the song first, and then

come here and start to put the
music and the sonics together.

Sometimes, I just
want to play around

with instruments and
sounds and sonics,

and then be inspired
to write the lyrics.

So again, whatever
works for you,

you definitely should
explore many different ways

of creating.

But there's no right way.

There's just your way, which
is the most important way, what

feels good to you.

And then I take
all those pieces.

And then I take
all those pieces.

And when I'm about
to do vocals, I

put a rough idea together first,
put the vocals down, come back.

And then explore where
the instrument should go,

where the sonics should be.

So we're going to
talk through all that

and get into the
alchemy of music.

Some of my go-to instruments--
obviously, you know,

I love me a piano.

So I have 100,000 billion--

So I have 100,000 billion--

OK, not that many, but whatever.

I have a lot of
different keyboards.

I really love
exploring keyboards.

They're incredible to me.

This is a Moog Voyager.

And to me, this is one
of my staples sounds.

I love this sound.

[DEEP SYNTH SOUND]

If you notice, this
is the beginning

of "Try Sleeping
with a Broken Heart."

[DEEP SYNTH SOUND]

So, you know, it has such
a dynamic expression.

And it has harshness to
it-- a roughness, a rawness,

toughness, which I love.

I love mixing all the
energies and all the elements.

And I think that that kind
of grit and that rumble

is how I love my
basses to sound.

So anytime I need a bass,
this is definitely my go

to instrument for live
basses from the keyboard.

to instrument for live
basses from the keyboard.

Obviously, of course, we do
live bass, as well, actual bass.

But keyboard bass,
I love the Moog.

And just crazy sounds.

It also has really awesome
crazy sounds that you can just

explore and get creative with.

So this is definitely
a staple for me.

When I want a bass sound, when
I want an interesting thing that

rumble and that power
to it, I'm definitely

going to be using the Moog.

It's my favorite.

This baby is always next to me.

I'm like, it's my baby!

I'm like, it's my baby!

I brought up the JUPITER,
because the JUPITER

is such a staple keyboard for
the song, "No One," that we've

been talking about.

And the crazy part is
I actually programmed

that sound, that
"No One" sound--

[WARBLING SYNTH]

--on a keyboard
using a virtual synth

that anybody could get
any day of any moment.

And went out and
bought the JUPITER

when I performed
on the MTV Awards,

because I wanted people to see
what the original key would

because I wanted people to see
what the original key would

looked like.

So this is crazy, because
obviously, vintage keyboards

are so sick.

They sound so cool.

I mean, this one, you can tell--

[WARBLING SYNTH]

That's the sound, right?

Like, that's where it's from.

So it's definitely fire
to explore and mess

around and play around.

I also brought out the V-Synth.

We talked about
that a little bit

when we spoke about
vocal arrangement

and how particularly
on "No One,"

and how particularly
on "No One,"

I wanted to use some of
those tones and qualities.

We've been talking
about layering.

We've been talking about how
to create different sonics

and textures within backgrounds.

Or, you know, all
the pieces that

continue to paint the picture.

And I feel like the V-Synth is
a really cool way to do that.

And then I have my
virtual rig, which

is going to have every sound
under the sun that you can get

and we all have access to.

And it's super fun, right?

Because it's just limitless.

You can figure out what you
like and what you want to hear.

You can figure out what you
like and what you want to hear.

And oh-- and my 5000.

I know, some people might look
at the 5000 and be like, dang,

Alicia, you didn't want
to come up to the Ableton,

you didn't want to
like do something else?

But this is classic.

The 3000 was my baby baby
when I first started.

The 5000 is the one
that I rock now.

And honestly, I program using
the virtual synths, anyway.

And then I will take that,
jot them into Pro Tools,

And then I will take that,
jot them into Pro Tools,

and arrange
everything around it.

So usually, I don't
overprogram in the MPC,

but I like the feel of it.

I like hitting the pads.

It makes me feel good.

So this is my baby.

And in fact, one of my
first drum machines,

I experimented with a
SP1200, which is bananas--

again, vintage, vintage
drum machines, keyboards.

So fun to me.

I love mixing them all out.

I love the 808.

I will bring out
the original 808.

Should have brought it out.

But anyway, I like to
play, I like to have fun.

But anyway, I like to
play, I like to have fun.

And that is what creates
the color all around you.

And then this microphone
is just a regular 58.

I think that that's one of
the things we were talking

about yesterday-- is
there's been times

where I'm literally in this room
recording on this microphone.

And this is just a
regular live mic.

And I keep these
vocals, sometimes.

So it's all about the energy,
it's all about the emotion.

But this mic is particularly
attached to the V-Synth.

We use the mic and the
keyboard to create the sounds

We use the mic and the
keyboard to create the sounds

in the V-Synth.

And that's why this microphone
is sitting right here.

Another staple for me, if
you noticed, obviously,

the piano that
I've been playing,

as we've been talking about
songwriting and that process,

is a really unique
beautiful piano.

And has this wood body
and this Plexiglas top.

And it's really special.

And we actually created a
virtual version of the piano.

And it's appropriately
called Alicia's Keys.

And it's appropriately
called Alicia's Keys.

Boom.

So this is it
actually, right here.

And you'll see it--
it looks exactly

like the piano I've
been playing over there.

And I love this piano.

I use this piano for everything.

And not just because it's mine--

because it sounds.

Ask anybody. it really
has a beautiful tone.

It really it was
captured with so much--

it just has so much personality.

It really feels like a
piano a lot of times.

You know, you're just
looking for a great sound.

You know, you're just
looking for a great sound.

So this to me is my
favorite piano sound.

And when I'm not
on a live piano,

I feel comfortable
playing this one.

And even sometimes, it shows.

A lot of times, when
I'm playing live,

the sound can get so crazy that
if you don't have a keyboard

piano, even when I'm
playing live piano, just

in case it ever drops
out or anything,

I will use this Sonic.

And it's just that
beautiful to me.

So this one is the exact
replica of my piano in there.

So this one is the exact
replica of my piano in there.

So it's very, very
special to me.

So, you know, I really,
really love, love,

love to be able to
mix live instruments

and programmed instruments,
virtual instruments.

I think it's really
special to be

able to bring in program
drums with a live bass.

Or my piano is
live, and then I'll

program all kinds of other
sonics and sounds around it.

program all kinds of other
sonics and sounds around it.

I think there's
some really special

about mixing those worlds.

So that's how I do it
from the beginning.

I've always kind of mixed the
timeless, the classic sonics

with the future.

So to me, it's always like
this mixture of vintage future

that I like to bring together.

And I love it, because I feel
like you get to do anything.

You get to completely
do anything.

You have the live feel
of a human body playing

You have the live feel
of a human body playing

as you would a lot of bass or
a guitar or even live drums.

There's been times where
I've had a love drummer play

the live drums, and
then I've replaced

those sounds with
programmed drums,

because I like the sonic of
the programmed drums better,

but I like the feel
of the live drummer.

So things like
that really create

so many different elements
that you can play with.

And I think mixing the worlds
just represents who I am.

And I think mixing the worlds
just represents who I am.

And I think just makes
it a lot more fun.

I do think that instruments
have a personality, for sure.

And there are a certain go to
things that feel a certain way.

But I think maybe
less the instrument

and more the feeling
of the person playing

the instrument is what I find--

or obviously, the chord choices.

If you play more
minor chords, it's

going to feel a little darker.

going to feel a little darker.

And you play more
major chords, it's

going to feel a little happier.

So there's still
certain sciences

that are just always
appropriate, obviously.

But I think it,
to me, comes down

to who is playing the
instrument and what

the feeling of the song
is and the chords used.

So I do think that a Rhodes
would make me feel a little bit

So I do think that a Rhodes
would make me feel a little bit

more dreamy, just because of
all of the delay that's on it

and the sonic of it.

Whereas a piano is
going to make me

feel a little stronger,
darker, depending, obviously,

how I play it.

But I love that instruments
definitely have personality.

But most important
is the way you play

it, the style you play it, the
way you feel when you play it.

That comes through
even more to me.

So we were in the vocal booth.

We were talking about vocal
arrangement, textures,

you know, how to put different
sonics even in the vocals.

And now, I'm bringing you here
into the control room with some

of the sonics of "No One."

So one of the things
I've definitely learned,

like I shared with you
a little bit earlier,

like I shared with you
a little bit earlier,

is that, to me, the less you
put in sonically to a song,

the bigger it sounds.

It's something about the
space, something about the way

that you're just able
to hear every part

and identify every part that
really just gives it clarity

and it goes straight
to the heart, right?

Because, to me, that's
where we're trying to go.

We're going straight
to the heart.

Boom, direct.

So "No One," talking through
"No One," is very simple.

So "No One," talking through
"No One," is very simple.

There's not a lot of instruments
in "No One," actually,

which I love.

Obviously, we have the piano.

[PIANO]

So that is super direct--

simple, easy, very
memorable, sounds like clear.

Another piece of "No One"
that is really special to me

is the kick.

The kick on "No
One" is just so--

The kick on "No
One" is just so--

it's great.

It's gutter.

It's strong.

It's harsh.

It takes up all this space.

When you have the piano in there
and you have the kick going,

it just feels-- and then
if you want to bring up--

[SNARE]

--a little snare
in at some point.

Obviously, we also have that
very just regular, raw, open

hat.

[OPEN HAT]

So that it just feels exciting.

It feels like a vibe.

It feels like a vibe.

It feels like a bop.

You can just-- right?

It's just-- it's easy.

It's not a gang of stuff.

You don't have to--

I could do it with
three fingers.

It's 1, 2, 3.

So the kick is really, really
kind of the star of the rhythm

section, is that kick.

And then, outside of that,
we have this JUPITER,

which I spoke about, which
was also so special because--

[JUPITER SONIC]

--it's actually a feature.

--it's actually a feature.

So I just follow the piano.

And it had, like, a little sound
that you don't usually hear,

which is always good.

And then, you know,
when you get that part,

we talked about how
much of a hook that is.

Because you didn't really
hear that type of sonic.

So that JUPITER is
really, really special,

and I brought it in
at different times.

And then the other piece
that we talked about actually

in regards to layering
in the vocal arrangement

in regards to layering
in the vocal arrangement

was the v synth, which is such
a fun instrument to play with.

And the reason why
it's extra good

is because it really follows
what you play on piano.

So in this case, I'm
singing into this thing.

So when I'm singing
into it right now,

you don't really hear
anything with my voice.

But when I actually
use the keys,

(SINGING) one, one, one, one.

(SINGING) one, one, one, one.

And whatever words I want to
say-- (SINGING) no one, no one,

no one, no one.

And the cool thing is, even
if I sing something way off--

like, I mean, obviously,
you can hear my voice,

so you don't want
be too off with.

I was, like, (SINGING) ha, ha.

If you took my voice
out, you'd still

hear the proper chord I'm
playing. (SINGING) Ha.

hear the proper chord I'm
playing. (SINGING) Ha.

It's still a chord.
(SINGING) Ha, ha, ha, ha.

So I love that,
because this texture

throughout those backgrounds,
as you're hearing it all,

it creates a pad.

It creates a
texture that happens

inside of all the pieces.

You can do special,
small movements

that feel really good.

And then, outside of that, for
"No One," the only other thing

And then, outside of that, for
"No One," the only other thing

there is, is acoustic guitar
at the very, (SINGING)

oh, oh, oh, oh.

Got the acoustic guitar
just going ballistic.

And that's it.

That's literally it.

And, you know, so the
vocals paint an image.

I brought in the acoustic
guitar at the end

because we had these
programmed sounds

and these virtual synths.

And like I said, for
me, there's always

And like I said, for
me, there's always

one bona fide live instrument
in the song at least.

And for me, this one, this
guitar was the perfect sound.

So back to, do
instruments have moods,

guitar definitely has a bright
kind of open heart, I feel.

And when you play
the guitar, there's

something about it that just
moves you in a beautiful way.

I could play the same chords
on piano as played on guitar.

I could play the same chords
on piano as played on guitar.

And they sound like
two different tones.

To me, the piano
is a bit darker.

It's a little bit more
moody, and the guitar

is a little bit brighter.

It's a little bit more--

it just feels like a
breath of fresh air to me.

So strumming those
chords at the end

felt like the
breath of fresh air,

plus the live edition that
creates the sound that I like.

So I love the fact that
the production of things

So I love the fact that
the production of things

can feel so supportive to what
the meaning of the song is.

You know, the chords
have the joy, but also

the darkness, enough
darkness for the challenge

that the song is talking about.

The JUPITER created enough of
an interesting intriguing sonic

that you kind of
didn't hear before.

And a obviously, you have the
piano player and a keyboard

player.

Things like that are interesting
for me and cool for me to play.

And the guitar created
the openness at the end,

And the guitar created
the openness at the end,

that celebration that just
feels like you're letting go.

The kick grounded it
and kept it hard enough

that you go back to
it, but simple enough

that you can hear
everything else.

And then the v synth is
that, like, secret piece

that's in there
that you don't even

realize that you're hearing.

And that's the song.

I mean, simple as that.

[CHUCKLES]

So the JUPITER, which
is right here, I mean,

I literally discovered it
from my virtual plug-ins.

That's where I discovered it.

Because I was going through
a bunch of different sounds.

And I was looking
for different things.

I was like, mm, this looks like
a super cool vintage keyboard.

Let me play it.

So I pulled it up,
and I'm looking

at it has all these pretty
colors, purples, blues, greens.

It's like-- it looks fresh.

And I pulled it up.

[PLAYING JUPITER]

[PLAYING JUPITER]

And I was like, wait a minute.

This is crazy.

So what type of sound is that?

So I actually discovered this
keyboard from the plug-ins.

And again, you
know, these plug-ins

are available to all of us.

You can get them in packages,
just like you get probably

You can get them in packages,
just like you get probably

all the plug-ins
that you already have

that you're working
on and working with.

And but when I saw
this, it reminds me

I have such a fascination
with keyboards from the '70s

and early '80s because
they just have this,

you know, this attack
and release that

creates all of these sounds.

And so, it was so
cool that I was

like, when it was time to
bring "No One" into the world,

I loved exposing people to
different sounds and sonic,

specifically that you
could still play live.

specifically that you
could still play live.

So we had to go through
all types of things

and locate this actual JUPITER.

And, like I said, I played
it for the MTV Awards

the very first time that
I ever premiered "No One."

And to be honest, the keyboard,
the real thing is always bad.

It's just how it goes.

You know, you can
actually touch it.

[PLAYING JUPITER]

OK, sing something for me.

So I just-- I hope you
wrote me something for that.

Because I really like that.

So finding it is
not always easy.

So finding it is
not always easy.

And I know, you know, Ann
Mincieli, who is my engineering

partner for since
the beginning, she's

a beast at finding
different keyboards

and different
special instruments

and collectibles and
things like that,

so I'm sure she had
to negotiate kind

of major on eBay or something.

There was a major
negotiation that happened.

But I was so excited to
have this real thing,

this beautiful,
actual, authentic piece

that I discovered from
using the virtual sense.

that I discovered from
using the virtual sense.

So that's how I got
introduced to JUPITER.

Only thing is they go
out of tune all the time

because they're older.

You're like, no!

[PLAYING JUPITER]

We need to bring this back.

We need to come
back to the JUPITER.

I never talked about
"Try Sleeping,"

I never talked about
"Try Sleeping,"

but the Moog is
definitely really cool.

[PLAYING MOOG]

So "Try Sleeping
With a Broken Heart"

is actually one
of the first songs

that Jeff Bhasker and I created.

And he also loves the Moog.

You can hear it in his work.

And this is like--

And this is like--

when we talk about
how sonics are hooks,

you know, and sonics
are also a piece

of why you remember
a song, you know,

and that beginning of "Try
Sleeping With a Broken Heart"

with the Moog just
using the filter

to kind of open up the
filter and close the filter

and get your attention
is my favorite.

And then, you know, once
again, talking about bringing

in the live instrument, so--

in the live instrument, so--

[PIANO]

--we bring in the
piano on top of that.

And it just gives
you a whole world.

And it's cool that the bass
is, like, a little bit off.

I think that's part
of what makes it good.

That's another thing.

We didn't talk about that.

Don't worry so much
about being perfect.

It's not about being perfect.

So even as I'm
listening to this bass--

perfect is, like, overrated.

To me, it's the feeling.

To me, it's the feeling.

I might sing and know
that it might be off,

but it's the feeling, you know?

And the feeling feels better
off because I meant it

than just being
perfect because I'm

trying to be perfect for who?

Who are we always trying
to be perfect for?

So this combination of the
roughness of the Voyager

and the beauty of the
piano is what makes

and the beauty of the
piano is what makes

this song so special to me.

It's the star of that.

(SINGING) Even if you
are a million miles away,

I can still feel you in my bed.

And then the intimacy of
the vocal and the roughness

of the bass, I love opposition.

Opposition, I think, is a really
big key to production as well.

Like, how can what
you're creating

be totally different from
what you're saying or singing?

be totally different from
what you're saying or singing?

If the vocals are so, so sweet,
how can something about it

be, like, off or hard or
not expected, you know?

Or the music is so beautiful--

how can what you're
singing or what

you say be totally juxtaposed
that emotion so that it feels,

like, shocking.

It feels like it didn't
belong, but there's

something about that
caught your attention.

I really like how that feels.

To me, that creates something
that really grabs people.

To me, that creates something
that really grabs people.

And I know it grabs me.

So like I said, you gotta
grab yourself first.

First you, and then, hopefully,
other people vibe with you.

But you first.

All right, so I'm
going to take you

into the world of
a new song of mine

called "Love Looks Better."

And this song--

I really want to
talk about this song

because it's the process
of collaboration,

and I think collaboration
is a really incredible way

to create.

And I used to not
like to collaborate

And I used to not
like to collaborate

as much because I guess I felt
a little nervous or I felt--

you know, it's
very intimate to be

in a collaborative space with
people and not only share

what's on your
spirit and your heart

and your lyrics and
everything, but just

to have a shared space sometimes
feels a little nerve racking.

But now I enjoy it a lot.

I really love it.

And I wanted to talk about it
specifically with this song

because this is how this
song actually came to life.

So I want to bring you
through the process

So I want to bring you
through the process

and bring you through what--

the other part that
I think is very

important about production,
as we've been talking about,

is arranging because arranging
is just as important.

You know, kind of throw
in a couple of loops

up and put in a couple
of different sounds

on there is great, but
where do you want to go?

How do you want it to grow?

What parts are
the special parts?

What are you featuring?

When?

Where?

What gets too
chaotic, too noisy?

And that actually
was the circumstance

with this particular song.

with this particular song.

It has so many good parts, but
it almost had too many parts.

And you know my theory is like
the more you can strip it down,

the greater it's going to be.

So I started to identify
big love to 1500,

big love to Jukebox,
and big love

to Ryan Tedder, all
who have collaborated

with me on this song.

But in this last
incarnation of this song,

I feel like one of the things
that made it come alive

is the way that I
started to break down

what are the
favorite parts? what

what are the
favorite parts? what

are the most important parts?

and how do we focus on
those and create an energy?

So the drums already existed,
and I went through each one

and I created the loop
that I really love.

So it's kind of almost like
I sampled my own record.

You know, I took the
best parts of the song

and I created the loop that
I felt would be, you know,

the best.

So can we play the loop?

So I love this loop.

It has 808 in it.

It has a voice in it.

It has the drums.

They feel like a vibe.

It has this ha, ha, which my
husband Swizzy made famous.

Ha, ha, ha, right?

So it has a whole zone.

And then I wanted to
break down the piano

because the piano is a really
important part of the song,

because the piano is a really
important part of the song,

but it was almost just
feeling like it was always

happening the same way.

So I started to break
it down more like this.

[PIANO PLAYING]

So it was the same chords, but
the rawness of the one note

felt stronger.

So we rock there.

And then there's another
part that the piano

does that feels really good.

And it's pretty
simple, the piano line.

So it starts.

So when the chorus comes, I
bring that so that it lifts,

you know?

The other part of the
song that I really love

is actually this bass line.

is actually this bass line.

And it has a-- it's tricky
because the bottom already

has 808.

So once you put the
808 alone in there,

you're a little bit limited to
what you can do with the bass

because sometimes
it gets in the way.

So this bass--

[BASS PLAYING]

--kind of gives it
a little live feel.

I only bring it
in once in a while

so that it kind of lifts it up.

And we actually put on
top of that a live bass.

So it's like a program bass,
the Moog, and the live bass

on top of it which just
gave it an extra roundness.

And this song also
has that vocoder kind

of padding thing under
it, which is great.

So then I wanted to do
a bass because there was

a-- there's a bass part
that feels really good,

but what happens is with the 808
on the bottom and then adding

a bass on top,
sometimes it gets like--

it collides because the bass--

the 808 is so heavy, and
then the bass is heavy too.

So it's like which one
sonically-- they both take up

the same space.

So I chose to do this
type of bass, which--

[BASS PLAYING]

--which kind of
mocks a live bass

for these particular parts.

It comes in right before the
chorus, right before it's

about to explode
just to lift up,

give the energy, a fresher--
a fresh perspective.

And we actually layered a live
bass on top of this Moog bass.

So it made it warmer.

It made it rounder.

It also cut through
better and created,

you know, the feeling between--

you know, the feeling between--

you know how we feel
about live instrument

with programmed instrument.

So that felt really good.

And then I also used the
vocoder on this as well.

So again, you know, that's
one of my favorite instruments

because it creates a pad, like a
feeling that feels really good.

So I take those
cores that I played--

that I played earlier
with the piano,

and I play those similar ones.

[HARMONIZING]

And so, you know,
you create this pad.

I put it underneath
there, created the padding

at the end towards the bridge
where it wants to start to--

wants to start to
build up again.

And then there was already
this amazing sound in it

that I felt was one
of the features, one

that I felt was one
of the features, one

of the hooks of the
song, like, right?

So we're talking about sonically
if you have a hook that you

sing lyrically and with
your melody, what's

the hook that's in the music?

So I really love to figure out
what's the hook in the music?

And this particular
part is really hooky,

and this comes in
on that chorus.

But let's bring it back.

Bring it back.

Bring it back.

Bring it-- bring it back.

Bring it back right here.

Bring it back right here.

Nope, it's not there either.

Hold up.

We almost there.

We back.

We back.

Here it comes.

Here it comes.

Just wait for it.

[HARMONIZING]

Yay.

So that kind of choir
or that kind of voice

always comes in on the chorus.

So it's really--
you know, there's

a lot of elements
in this song, but I

think my favorite part
about this particular record

think my favorite part
about this particular record

is the way that through
collaboration we found our way,

and I was able to find my way
as the arranger of this song

and producer and
arranger of this song

to bring out my favorite parts
and feature them and make sure

that it stripped away the excess
and really got clear about what

it wanted to sound like.

And sometimes that
takes a long time.

You know, some songs
need to be excavated.

Some songs you
have to craft them.

You have to work through them.

You have to find their place.

You have to find their place.

And I often say that I'm
listening to the song.

A lot of times when I'm creating
the song, I'm listening to it

and I'm asking it,
what do you want to be?

What do you want to sound like?

What is it that you need?

And a lot of times, you know,
eventually it answers for you,

and I really respect and love
the process of arrangement,

which is a really
powerful, creative space,

and collaboration.

It's a beautiful way to
get to the end result.

I guess what's wrong with the
music industry is simply what's

pretty much wrong with America.

It needs-- there needs to be
more ownership by the creators.

Certain businesses are
created not to equally--

most businesses, let's call it.

There we go-- are created not to
equally distribute the wealth.

There we go-- are created not to
equally distribute the wealth.

And I personally feel
like that is an old model.

That's an archaic model
because it doesn't represent

what the world looks
like, and I think

that's what we're recognizing
now in business and in just

everything.

We all in all things
have to represent

what the world looks like.

It can't just look imbalanced.

It can't be imbalanced.

It can't be a certain segment
of people gaining all the power.

It can't be these kind
of exclusive places

It can't be these kind
of exclusive places

that everybody's not welcome.

We have to evolve from that
space and that mind thinking.

When I meet young artists and
writers, I feel so connected.

I see so much of myself in them,
the ambition, the excitement,

the desire to learn,
for opportunity,

for just a chance for
anybody to listen.

You know, I completely
understand where they are,

You know, I completely
understand where they are,

you know?

And in so many ways,
I think about myself

and I think about how I didn't
exactly know who to turn to

or who to talk to or, like,
could I ask anybody advice?

Who do I ask for advice?

Like, who would
know this industry?

Who would know this
crazy world that's

so completely different from
the majority of most businesses

and run so completely
differently?

Who can I talk to?

Who can I talk to?

And I didn't really know.

So so much of the time I
kind of pretended the best

I could that I knew the most.

I didn't and did
the best I could

to fool everybody and hope
that eventually I would just

get to figure it out.

And it worked out,
but I think it

would have been so
wonderful to really

be able to have somebody to
talk to and learn from and grow

with and ask questions
to and learn from

with and ask questions
to and learn from

and all these things that
I want to do, you know?

So when I see young artists,
I really do-- first of all,

I want to celebrate them.

I want to tell them
they're amazing,

that, you know, there's nothing
that they can't do because it's

hard and you feel crazy
and you feel insecure

and you're not sure and you do
feel like you have to change

and bend and please everybody
and, you know, be everything

but who you are so that anyone
will want to pay attention.

So She is the Music
is that collective,

a collective of, you know, women
from all parts of the business

and the industry, you know,
from lawyers to accountants

to executives to, you know,
creatives to camera people

to executives to, you know,
creatives to camera people

and creative directors and you
name it-- producers, engineers,

you name it--

all sides, all places who
are a part of this collective

that really want to forward
the agenda of women having

a seat at the
table, at all tables

and really being able to be
represented the way that we are

and also to be able to increase
the amount of women that

and also to be able to increase
the amount of women that

are able to enter these
industries because they have

a way in or because
they have a mentor

or they have an
opportunity to learn more

about something that they
think they love but how do you

actually get started, you know,
and to be able to just continue

to lift each other
up in that way.

And that's what She
is the Music is about,

and that's what it
does, and it's amazing

because it's all
these incredible women

from all different places
and spaces who really want--

from all different places
and spaces who really want--

and men, by the way--

who really, really, really
want to see this happen,

to see this shift in culture
and to be a part of creating it.

You know, in regards
to, you know,

just realizing that, as
a woman and as a woman

and as a business woman and
as a woman in this industry,

it's the time to really
reach out to each other,

and it's the time to
really recognize, OK.

Guess what?

There's only one
woman on that board.

There's only one
woman on that board.

Like, that's crazy.

That's impossible.

There's not only
one woman anywhere.

So that doesn't even make sense.

So when you start to see the
way that things are happening

and you know that is not
happening the right way

and you're in that industry
or you're in that space

or you're affected by it or
part of it or whatever the case,

you have to, like, figure
out what can be done.

And so it felt like
the coming together

And so it felt like
the coming together

of women from all
different walks of life

and all different
sides of the industry

and really making a collective,
making an essential place where

we could connect or we
can build or we can mentor

or where we can create the
opportunities for other women

that we know are excellent,
that we can reach out and hire

people, that we can talk
to young people that

are coming out of high schools,
coming out of colleges,

offer them
opportunities and ways

offer them
opportunities and ways

to think about the
many different sides

that there are to interface in--

you know, call it
the music business.

It felt like it was
right to do that

and to start to really create
something that would allow us

to all come together, be
together, have a place,

have a sisterhood,
have a community,

and work on what we want
to see change in the ways

to do business.

So as each person
in their own right

becomes more able to reach
out to another person,

becomes more able to reach
out to another person,

be it hire them or be it
internships or be it just

on an everyday level where you
as a person with some knowledge

and information get to reach out
to somebody else and say here's

the information I know.

You know, let me
share it with you.

Let me help you.

Do you have questions for me?

Do you-- is there anything
that I can help you with?

You know, there's
something really

powerful about being able
to reach out for each other.

Joy.

Hey.

How are you?

How are you?

I'm good.

I'm so happy to
lay my eyes on you.

I'm so happy to
lay my eyes on you.

I'm so excited to
see you right now.

Man, listen.

I feel like I saw you the
other day on the Zoom call

for "She Is The Music."

Yeah.

Definitely.

How was it?

How did you feel
about that project?

Well, first of all, how do you
feel about "She Is The Music?"

Yeah.

I think I came into "She Is
The Music" unsure of myself

as a musician, and getting
all the information from all

the mentors was so helpful.

I was able to work with
Modesty Lycan as my mentor,

and she taught me
so much about how

to be empowered in making
music and songwriting,

to be empowered in making
music and songwriting,

for me and for others.

And it was really
empowering for me.

That's amazing.

I love that.

Listen, you know,
obviously, when we first

started talking about
putting something

like "She Is The
Music" together,

we couldn't even have imagined
the lengths that it's taken on.

But most beautifully is this
community of sisterhood.

It feels so good.

And you know, obviously,
in so many industries,

we know that that is a piece
of what makes the progression.

we know that that is a piece
of what makes the progression.

And so I'm so glad that
you're feeling that,

and I'm so happy to hear that
you feel more empowered--

that you feel like
it's-- you know.

And when you said that "They
give me the information,

they tell me what it is,
and then I know what to do."

I mean, because that's it.

We just need information
and opportunity.

So I'm so happy to hear that.

[PIANO MUSIC]

So part of this
program you created--

I know everybody had projects
that they were either working

on or developing a long way.

Tell me about your
project that you did.

Yeah.

So for my project, I wrote an
album called "Atlas Rising."

I wrote 11 songs-- seven
songs and four interludes.

Wow.

And I wrote, recorded,
and produced them.

But essentially for
the album, I really

wanted to make a love letter
to the authentic stories

wanted to make a love letter
to the authentic stories

of black women.

I wanted to write
music that made

me feel like I was being heard.

And I think the
reason why I make

music is to make sure that
women of color are heard.

And then I wrote
all these songs,

and I recorded all of them.

And it was really a
wonderful experience,

and I'm so lucky to have it.

And I'm excited to
release it soon.

Wow.

So hold on.

Had you started these
things before the project?

Was it literally for
the project, and you

had, like, six weeks to do it?

Tell me a little bit
about the genesis of it.

Tell me a little bit
about the genesis of it.

So two of the songs,
I had already written.

But one of the songs--

the first song that I wrote
was "Echo," and it came from--

I had a conversation
with my father

who told me that he was feeling
a similar sense of uncertainty

that he had felt when he
was a young kid in 1968.

And it just kind of made me feel
like everything is inherited,

that we're experiencing right
now-- like, none of this

is new.

And so it made me feel a
certain amount of solidarity

with other people who have
been through something else,

with other people who have
been through something else,

in the same way
as a young person.

And so I wrote "Echo,"
and then from there,

I just kept writing
things down in my diary--

just how I was feeling --and
then they became songs,

out of nowhere.

That's amazing.

It was a marathon.

It was fun.

That's so good.

[PIANO MUSIC]

I understand, from what
you just shared with me,

why you called your song
"Echo" Echo, I feel.

why you called your song
"Echo" Echo, I feel.

But let me not assume.

Share with me why
you named it Echo.

And am I correct that echo is
not technically in the song--

like, the word "echo"
is not in the song?

Yeah, "echo" is
actually in the song.

It's in the chorus, but
it's only used, like, twice

in the song.

But the lyric--

I use the title "Echo"
just because it feels like,

as I was saying earlier,
like none of this is new--

like all of this is an echo
from another instance--

like everything can be
tracked back to colonialism.

like everything can be
tracked back to colonialism.

Everything can be tracked back
to the Civil Rights movement.

Like, everything can be
tracked back somewhere,

and I think I want to always
remind myself of that.

Not just in, like,
the things that

have been happening
recently, but also

in the little things
that we inherit,

for example, the insecurities
that we had as women of color.

They're not just things
that we have as individuals.

They're things that
we've inherited

from older generations.

I love that title.

I love titles.

I think titles are so
powerful and important.

I think titles are so
powerful and important.

And a lot of times,
titles inspire me.

Like, I might just even
read the title of a book,

and it just sends me into
a place where I'm like,

"Woah, that's such a--."

So I'm super
fascinated with titles,

and when I first
started writing,

I purposefully made all
my titles the most, like,

unrecognizable thing.

If the song was
like, "I love you,"

I'd call it "The Feeling
Deep Down Inside the Emotion

Within."

It would be like, what?

It's not even--

[LAUGHS]

I have a song called
"Meditation on Assimilation--"

I have a song called
"Meditation on Assimilation--"

Hey!

--and none of those
words are in it.

Hey, I like that.

I like that, though.

It's poetic.

It's really, really poetic.

So I heard "Echo," and I'd
love for you to tell me--

what are you looking for?

What are you feeling?

Are you looking
for some feedback?

What kind of feedback?

How are you feeling?

Just give me the world
that you're thinking of,

in regards to "Echo."

Yeah.

I think I have a tendency to
be really wordy in my songs

sometimes-- so wordy
that, sometimes, you

sometimes-- so wordy
that, sometimes, you

miss some of the
things that are most

important, within the verses.

I think, also, you know,
in terms of melody,

I've been trying to variate
the melody in the second verse,

and I'm trying to play with,
you know, how much can you

variate the melody without
losing it, versus like,

keep it the same.

That's cool.

So I don't want
people to, you know,

get the same idea,
every single time,

just because the
lyricism is so varied,

but I also don't want to
go too far from the melody,

and then we're in a
different song, so.

Totally.

Totally.

Yeah.

That's what I'm
working on right now.

All right, great.

And, so you have your guitar.

Can you play me the first--

you know, the verse, the
B section, and the chorus?

All right.

So this is "Echo."

(SINGING) I've seen
love, and I've seen war.

A broken piece, then restored.

Built my wealth.

Saved my health.

Gave my heart, let
someone treat it well.

Somehow there's still more.

But right now, I
don't know, because I

thought we'd passed this.

And I'm out of control
without answers, I'll admit.

I feel this ache in my heart
from when I was a little kid.

I know history repeats, but
it feels like the remix.

I know history repeats, but
it feels like the remix.

Feels like the world's
turning back around.

The echo is getting too loud.

It feels like the world's
turning back around.

Flash back to the
same old ground.

Oh, oh, oh.

Oh, oh, oh.

Oh, oh, oh.

Oh, oh, oh.

That's the first part.

Perfect.

I love that sentiment.

I love what you're
talking about, lyrically.

I think it's clear
what you're saying.

I definitely understand your
point of view, for sure.

I really like the part that
has the "oh," after the chorus,

because I've been talking
about how are there

hooky parts all
throughout the song?

hooky parts all
throughout the song?

And "hooky" in the sense that--

it might be the guitar, it
might be a certain sound,

it might be a vocal thing,
and I love how that--

so that feels really
primed for something

that people want
to keep singing.

So I love that a lot.

Now, the last two lines
on the second verse.

Mhm.

So, "I know there is a God.

Why would he bring us this far?"

Yeah.

And then what comes?

And then it's "To help us
learn, maybe start again.

Keep peace earned for
enduring all this pain.

Keep peace earned for
enduring all this pain.

Don't even know where we are."

So I definitely felt
like, at that part,

I missed what you
said a little bit.

That's what I thought.

Right?

I can see what you mean.

And another idea is,
sometimes, I like to--

because the [VOCALIZING].

And then, what's the
second half of the melody?

Which part?

The verse, or the chorus?

Yeah.

Those two lines that we
were just talking through.

[VOCALIZING]

Sometimes, I like to--

I feel like the [VOCALIZING]
is a really strong melody.

I feel like the [VOCALIZING]
is a really strong melody.

And sometimes I liked-- when
I'm looking for a shift,

just because I want to keep
it evolving --sometimes I'll

either change the first half of
the verse, and then come back.

So say we change the first
half, and then come back to

[VOCALIZING].

Or I'll keep the first half,
and change the second half,

and come back, because I think,
in that middle part, where

and come back, because I think,
in that middle part, where

maybe you were
feeling like it could

be a little wordy to the point
where maybe people would miss

what you're saying, maybe
those two lines right there,

you could potentially
shift melody completely.

And then come back
to [VOCALIZING]

You think it's an F or a G?

OK.

[VOCALIZING]

Does that sound right?

[VOCALIZING]

And even if you wanted
to do [VOCALIZING],,

or if you wanted to
take it somewhere up.

I know that you are saying
really important words,

so I know you're
kind of trying to get

in a big thought
in a small thing.

in a big thought
in a small thing.

But if you wanted to
[UPSCALE VOCALIZING],,

and then kind of come back to
[VOCALIZING],, it could be cool.

So that's just an idea
to throw out there,

if you felt like you did want
to shift the second verse.

But I do agree
that I'm losing you

a little bit in those lyrics.

Maybe I could cut the
first half of that line that

Maybe I could cut the
first half of that line that

says "to help us learn--"
maybe cut that, and just, like

(SINGING) maybe start again.

That's nice.

(SINGING) I still
know there's a God,

but why did he
bring us this far?

Maybe to start again.

That's nice.

(SINGING) Don't even
know where we are.

And the stories I knew, then--

Okay.

That's nice.

That's nice.

That's nice.

It kind of takes your attention
to another place in that space.

But I know you can also
consider, exactly--

because you said, "Why
would he take us this far?"

Mhm.

And the original
lines were, after that?

To help us learn,
maybe start again.

Right.

And then?

Keep peace earned through
enduring all this pain.

That's the longest one.

Right, right, right.
(SINGING) To help us learn,

maybe start again.

maybe start again.

Keep peace earned, [VOCALIZING].

If you preferred that line,
because I think the "keeping--"

"keep the peace earned,
so we can start again--"

Through enduring
all this pain.

Through enduring.

(SINGING) Keep through
enduring all this pain.

Don't even know where we are.

If you wanted to even--

it could kind of be
a background thing.

And then, [VOCALIZING].

So that's a kind of a
way that you could still

So that's a kind of a
way that you could still

keep all your lyrical ideas,
but evolve it a little bit.

That's one thought.

Okay.

But that feels good.

That feels really good.

And then what's the
chorus on the B section?

[PIANO PLAYING]

Okay.

Now sing the melody over that.

(SINGING) And the
story's not knew.

(SINGING) And the
story's not knew.

This ain't our first try.

We've had deserts to cross,
and we marched-- marched miles.

But every time I get done,
we resume that eternal climb.

And it hurts just as much
as the blow from last time.

And does it, every time?

It goes to the F, every time?

Yeah.

Yeah.

[VOCALIZING]

It's very cool.

It's very cool.

It's a cool chord progression.

I'm trying to think of, like,
how to get the melody out

of there so it
really accentuates

that particular
choice of your chord,

because the chord is very cool.

It's not obvious,
which I really like.

[VOCALIZING]

Maybe.

Maybe it's [VOCALIZING].

Maybe it's [VOCALIZING].

But I know when it ends--

[VOCALIZING]

I think there's just
one thing about--

if you hang on that last chord,
it'll actually show people how

special the progression is, so--

Yeah.

You know I mean?

That [SINGING NOTES]
in your melody.

[VOCALIZING]

And that feels
really, really cool.

And then at the end,
maybe [VOCALIZING]..

And then [VOCALIZING].

But is that the melody
you're doing at the end?

Kind of going up?

Yeah.

I'd really love
if you accentuated

that beautiful chord, that's
like all sneaky and, like,

unassuming, but really pretty.

I think that would be lovely.

Yeah.

I love that.

Can you sing it for
a sec, just to try

Can you sing it for
a sec, just to try

to see how that feels for you?

Yeah.

(SINGING) And the
story's not new.

This ain't our first try.

We've had deserts to cross,
and we marched-- marched miles.

Like that?

That's nice.

(SINGING) But every
time I get done,

we resume that eternal climb.

And it hurts just as much
as the blow from last time.

And it hurts just as much
as the blow from last time.

Yes.

Like that?

Yes.

That really makes you
understand the progression,

and it feels really special.

That's really,
really, really nice.

Joy, this is so cool.

I really think that you're
onto some great, great music.

And thank you so
much for sharing--

not only your music, but your
soul, your story, your journey

--and also being super brave
to just express the process,

--and also being super brave
to just express the process,

and share with us your process,
because everyone's process is

different.

And there's no wrong way
to do this thing, you know?

So I think it's so beautiful
to see your message,

and to see your growth
and your willingness

to continue to grow.

And I'm so, so, so excited
for you, and proud of you.

And congratulations on the
project, and for all that's

coming your way.

I'm glad we could
connect and feel.

This was fun.

Thank you so much.

I'm so honored.

This is amazing.

This is amazing.

Yay, vibes!

High-five.

Uh.

[LAUGHTER]

There was a time where I would
just say yes to everything.

And of course you
understand why.

And of course you
understand why.

It was a brand-new experience,
and I was a new artist,

and you want to have--

you're dying for
the opportunity.

Are you kidding?

And then you get the chance
to have these opportunities,

and who are you
to turn them down?

You've been asking the whole
time to get them, right?

And I didn't realize how much it
was affecting me and definitely

not creating boundaries for
myself, which, you know,

not creating boundaries for
myself, which, you know,

is just super unhealthy.

You know, it's not healthy
to just go without limit

and to say yes
until utter fatigue

and to not ever consider
yourself or your own well being

or what you might need
to replenish, you know?

These are things that are
really, really important.

But I found myself just
going hard and always pulling

at my bootstraps
and ignoring how

I felt, ignoring that inner
voice that was saying you're

I felt, ignoring that inner
voice that was saying you're

tired or this doesn't
feel right or, you know,

man, you just need one day
in between this and that

or you haven't seen your
friends or you miss your family

or whatever it is.

Like, the voice is always
there, and a lot of times

you choose to ignore it.

So that was definitely me.

I was ignoring that.

I was not giving myself
respect to take care of myself.

I was burning the
candle at all hours.

I would stay up
all types of late,

I would stay up
all types of late,

get of all types of early.

I'd fly anywhere back and forth,
even if it was ridiculous.

But I did it, and so I
found myself at a place

where I was just totally
fatigued on every level, just

spiritually,
emotionally, physically.

I didn't even know who I was.

I didn't even know what I liked.

I didn't even know
what I didn't like.

I didn't even know
what I thought.

I needed everybody else to
answer everything for me.

I didn't even have the
capacity at that point

to even have my own opinion
or thoughts because I had--

to even have my own opinion
or thoughts because I had--

I was exhausted.

And I think, in a
way, that also led

me to start to depend heavily on
other people for their opinions

or their--

what they thought
was right for me.

And I got out of habit of
even asking myself first.

I would ask other people
first, what do you think?

which is a terrible habit.

Take it from me.

Don't do it.

Always connect with
yourself first.

Always connect with
yourself first.

Always ask yourself, what
does this feel like for you?

And, of course, you can then
reach out to other people

and get their thoughts,
but what do you think

is the first question?

What do you feel, and
how is this good for you?

And that's OK to ask yourself
how is this good for you?

I finally realized that the
power of yes is a real power.

To actually say yes is powerful,
and it means something,

To actually say yes is powerful,
and it means something,

and it means then you are saying
yes because your full energy

and your spirit is
invested because it's great

and it's solid and
it feels good for you

and you've thought about and
you've considered yourself

in the answer.

And I also have learned that
the power of no is even huger.

I don't know if huger
is a word, but I'm

telling you, that's how it is.

It's huger than anything
else, the power of no

It's huger than anything
else, the power of no

and claiming your space and
knowing when something's not

right for you and being OK
that it's just not the time.

And that doesn't mean you're
not going to have success.

It simply means that it's not
good for you in this moment,

and you're leaving space for
the thing that is good for you

to walk through the door.

So I finally know this,
but it's taken a while.

I think that, you know,
unwinding and relaxing

is just as much of the
work as is the work.

You know, all the things,
all the imagining,

all the dreaming, all the
creating, all the manifesting

is benefited greatly
by the relaxing.

The unwinding, the doing
nothing is actually

The unwinding, the doing
nothing is actually

doing a lot for you, and
I've learned that over time.

And for me, meditation is a
really, really powerful tool.

For me, it's changed
everything for me

because it's really
given me a center.

It's given me a certain
perspective, a way to tune

in to my own intuition, my own
inner voice, my own thoughts

and opinions.

Like I said, you know,
there was a time when I just

went so fast that I never took
the time to hear my own self,

went so fast that I never took
the time to hear my own self,

and I think that's probably
a lot of our lives and cases.

You know, it's not
intentional, but nobody

tells you to slow down
or listen to yourself.

When does anybody
tell you to do that?

From a kid, you're told to
listen to everybody else

and follow everybody else's
rules and do as you're told

and be seen and not
heard and all the things

that you're told, right?

So who's going to tell you to
listen to yourself, to tune

into yourself, to check
on your soul, you know?

into yourself, to check
on your soul, you know?

And so that discovery
for me has really

opened me up wide to a whole
other universe of understanding

and confidence, to
be honest, to know

that I know what I
feel and I'm very

clear about what I need and I'm
very clear about what I want.

So I'm really excited
constantly about going deeper

into meditation because I feel
like it really is leading me

to places that I just would
not be able to access or get

to places that I just would
not be able to access or get

to otherwise.

So, yeah, I think that
relaxation, that self-love,

that self-care, that time
to carve out for you when no

one's--

the noise is down.

You can just hear.

It's priceless-- priceless.

Now that I have
kids and stuff, I

Now that I have
kids and stuff, I

think there's a hefty portion
of what you bring into the world

that you have within you.

It's just who you are.

It's how you're going to be.

It is what it is.

But I also had and have a really
strong mother who raised me

as a single mother, and
I think that I witnessed

her quite diligent, quite
disciplined with all

of her endeavors, and
that definitely fed me.

of her endeavors, and
that definitely fed me.

And she wouldn't really accept
anything less, to be honest.

She expected me to operate
at the highest capacity

that I could, and
she held me to that.

And then I started to also
with different things that I

was doing, if it was
piano or, you know,

even just the beginning parts
of songwriting or creating,

you know, I realized very
quickly that the only way

to get better is to
keep going, to keep

to get better is to
keep going, to keep

at it, to keep doing it, to keep
trying it, to keep learning it,

to mess up, you
know, to practice.

You have to practice.

You have to practice.

And I think that the
piano really showed me

that because, you know, there's
just no way on planet Earth

you're going to know how
to play any instrument

without practicing, period.

I don't care how gifted you are,
but everybody has to practice.

You cannot get
great at anything--

You cannot get
great at anything--

anything-- without practicing.

Ask anybody who is--

has had any type of success.

You can't do it without
putting your time in.

You have to put your time in.

You can't just chill on the
bed whining and complaining

about why is this
not happening for me?

and not put any time in.

It's not going to ever
happen for you, period.

So I think that that
discipline, that diligence

to find that strength
to keep on going,

to find that strength
to keep on going,

keep on trying, putting the
work in, putting the time

in-- everybody else
is hanging out.

Everybody else is playing,
partying, having a good time.

You have to practice if
you want it, you know?

And in order to
do that, you have

to put your time
in with yourself.

And it's a form of
self-love, I feel like.

It's a form of
self-respect to understand

that this is a part of what
it takes to get where you want

to go, and it's
a part of what it

takes to have that discipline
and that diligence.

takes to have that discipline
and that diligence.

A lot of it comes from being
able to follow through and see

things through and have
the fire and the hunger

and the desire to do
things well with excellence

and for yourself,
you know what I

mean, because you care about
how it's coming together,

because you are diligent
enough to see it through

and disciplined enough
to stick with it

and give yourself
your own schedules,

give yourself what you need
to do to accomplish what many

give yourself what you need
to do to accomplish what many

would believe to be impossible.

I think that it's hard
to be self-motivated.

It's not easy for nobody to
tell you kind of what to do

or when to wake
up or how to plan

or how to create this
thing or how to keep at it

or how to keep going.

You know, it's not
easy when you're

the one that has to figure
it out, follow through, see

it all the way without
anybody telling you anything.

it all the way without
anybody telling you anything.

So I love these two
words, and I really

am proud that I have
a heavy dose of each.

ALICIA KEYS: The
reason why I want

to do this MasterClass class
is because I'm always learning.

I'm excited to share
what I've learned,

and I'm excited to
share my process.

I think it's beautiful
that it actually

I think it's beautiful
that it actually

helps me to be honest as well.

The way that I keep evolving
is just by continuously

being curious.

That's the awesome thing about
knowledge and information

is never an end to it.

There's never a point in time
that you know everything.

I definitely think
and know for a fact

that you know yourself
better than anybody else.

Nobody knows you
better than you, 100%.

Nobody knows you
better than you, 100%.

But there is all the
things that you're learning

and all the things that
you are having access to

and that you're
curious about that you

get to learn and discover.

And therefore, it evolves you.

You know, you get
to evolve every time

in every circumstance and
every choice and every moment.

You know, so I think there is a
gratitude that I carry with me.

And I know that there's more.

I want to constantly be in awe.

I want to be in a
constant state of wonder.

I want to be in a
constant state of wonder.

I want to constantly
be so surprised

and shocked with everything
that I can discover and uncover

and how amazing it is and
how I can see it in a new way

than I ever saw before.

I think that's what life is.

I think that's what music is.

I think that's what songs are.

I think the minute
that you think

you know what you're doing
with a song, that's it.

You've finished.

Personally, that's what I
think, because how do you know?

Personally, that's what I
think, because how do you know?

You haven't even accessed
all the parts of you,

all the sides of you.

Every day, you're different.

Every day, you're growing.

Every day, you're better.

So I love this idea, and
it actually fuels me a lot.

And I love not knowing.

I love being curious.

So, to me, that's how
I keep from going.

And that's how we
all can keep going,

is just being open to the
excitement of always being

is just being open to the
excitement of always being

able to grow and know more.

As much as it may be helping
you or giving you another way

to look at things or
just to even think

about how you might
want to create

or what other people do to
create, whatever it might be,

it helps me.

It helps me identify.

It helps me recognize patterns
that I do as a creative.

'Cause, you know,
a lot of times,

you don't reflect
on these things.

you don't reflect
on these things.

You just-- it happens, you do
it, you did it, you went home,

and you keep on pushing, right?

But you don't reflect back
on, wow, I noticed this,

or I realized this.

So every time I do
a song, I do this.

Every time I create
something, I create this.

You know, you don't
really think about it.

So it's been really cool to
also recognize my own patterns

and make note of them while
also being able to share them

with you, and, hopefully,
give some insight

with you, and, hopefully,
give some insight

or some inspiration
or some nuggets,

pieces, jewels, whatever it is.

So that's why I wanted to do it.

I want to do it so that we can
connect, so we can build it.

I love talking.

Stay lucky.

Don't have me talking
all day on this thing.

I mean, what?

It's only this short?

I talk so much, I could
do this for years.

[LAUGHS]

I hope that you know
that you're so special.

I hope that you know
that you're so special.

Like, really.

I just don't think we
know how special we are.

I really don't.

I think that we think we're not.

And I think we think
we're not as good as.

And I just think that we have
to spend more time recognizing

how special we are.

So I want you to know
that you're so special.

You're so unique.

You're so interesting.

You know, you have
something to say.

And we want to hear it.

The world wants to hear it.

The world needs it.

The world needs it.

The world needs artists
and creators and people who

are conjuring the
magic that's within us

and unafraid to dream
and break the rules

and be different and be
brave and be yourself.

So I hope that you're able to
feel all that and know all that

and leave this just, like,
on fire, and more on fire

than you've ever
felt, more vigorous

than you've ever felt, more
determined than you've ever

than you've ever felt, more
determined than you've ever

felt, more excited
than you've ever felt,

and that you hold that with you
as we continue on this journey.

So go be an artist.

Woo!

I did it.

I can't believe it!

I can't believe it!

Will we have some champagne?

I would love some champagne.