Classical pianists are often curious about jazz – but don’t know where to begin. In this week’s blog post we talk to jazz pianist and educator Jeremy Siskind, who answers questions about why classical musicians should try jazz, common obstacles they face and how to get started. Jeremy will also be presenting a workshop on Friday 13th December, focusing on blues improvisation as a natural gateway into jazz.
Can you tell us a bit about your musical background?
As a student, I learned through the Yamaha Music Education System, which – looking back – I find to be a very holistic methodology. From my very first years of study, we were working on improvisation, composition, keyboard harmony, and ear training – all tools that have been incredibly useful in my career as a jazz pianist, arranger and composer.
Although technique, reading and classical piano were very much a part of that musical training, they weren’t the part that excited me as a kid. Only in later years when I could really assess their value did I engage in “traditional” studies more deeply. At the Eastman School of Music, I took classical piano lessons every semester and then went on to study with Sophia Rosoff in New York City (a student of well-known pedagogue Abby Whiteside). Working with Sophia, I learned the Debussy Études, which I played in my Carnegie Hall debut, alongside a second half of jazz repertoire. I’m no great classical pianist, but I do think that I can speak the language of classical players better than most jazz musicians.
Why do you think jazz feels so appealing to many classical pianists?
Everyone has their own reason, but here’s one: I think wise classical pianists see that improvisation is part of their tradition. It’s no secret that pianists in the age of Bach and Mozart and Chopin could (and did) improvise! The hyper-specific division of labour that came later can leave everyone a bit stuck in their roles – performer, composer, arranger, creative, interpreter etc. Although there is enough incredible music already written to occupy a classical pianist for many lifetimes, it’s only natural to want to expand out of one’s role and experience what it might feel like to occupy a different space.
What are the biggest hurdles you see when classical musicians first try improvising?
One of the biggest hurdles is wanting to be good right away. The process of learning improvisation is very different than the process of learning the piano and – in a sense – even great pianists are again “beginners” as they start to learn to improvise. However, they come with good ears, good taste and high expectations of themselves – they don’t want to play the first pieces in the method books… they want to make music! So, musicians need lots of patience and generosity towards themselves to embark on something in which they are novices.
Why does the blues work so well as a starting point for learning jazz improvisation?
For many reasons! Firstly, the blues is familiar and most musicians (and non-musicians) can immediately follow the form. Secondly, it stays in one key center and – for that reason – improvisers can stay with just one scale. Thirdly, the form is simple (just one section) and there aren’t any big formal surprises. Lastly, even playing simply in the blues sounds great! Even beginners can get something that sounds like jazz within the blues form.
Your teaching approach emphasises listening, imitation and musical conversation rather than theory-first learning. Why is that especially helpful for classical pianists?
Ultimately, we’re learning a language here. Although one can learn language via grammar and letters, the deepest and most “sticky” learning comes from the experiential side – from talking, repeating and living in the language, rather than “translating.” I think theory is important (and fascinating), but one can’t *think* their way to a great blues solo – you have to *hear* your way there.
What will pianists experience in your upcoming workshop?
I’ll be teaching six interrelated lessons about how to become comfortable with blues improvisation. These are hands-on lessons that will best be experienced at the piano! The lessons teach a mixture of phrasing, rhythm, articulation, expression / ornamentation and scales/theory. You won’t be a pro by the end, but I guarantee that you’ll be a better – and more confident – blues improviser.
If a classical pianist is curious about jazz but unsure where to begin, what would you say to them?
A few things: jazz is best learned in a community. Show up where you can find jazz in the community and start getting a “lay of the land.” Jazz is also an aural art form. There are lots of great resources, books and theory, but you really have to know how it sounds. Really get to know two or three legendary recordings (try “Freddie Freeloader” by Miles Davis and “Joy Spring” by Clifford Brown to start). Lastly, my Jazz Piano Fundamentals series of books are designed for a student just like the one described. Starting with level 1, you’ll be gently guided on a jazz journey with assignments, guided listening, written practice and audiovisual resources.
Join Jeremy’s Workshop!
Whether you’re curious about jazz, looking to add improvisation to your playing or teaching, or simply want a fresh way to think about musical expression, this workshop offers an inviting, hands-on starting point. Join us on Friday 13th February @ 18:00 GMT and take your first confident steps into the language of jazz!