Reflections on Solo Piano (Part 3/8)
Here’s a link to part 2.
Quick recap: Sometimes acquiring solo piano vocabulary means reaching into a tradition that extends beyond jazz.
Jazz piano is only an extension of a much broader, 300+ year old keyboard tradition (an extension that could use more exploring, I might add!). There are many non-jazz composers and pianists who have contributed to a massive body of repertoire that explores every extremity of piano playing.
Is it necessary to check out the classical piano tradition to play meaningful music? No. Is it necessary to check out the classical piano tradition to understand and appreciate the piano to its fullest capacity? Yes! I should add that just as the jazz community listens for acknowledgement of the jazz tradition, the piano community listens for acknowledgement of the piano tradition.
For this reason, my practice schedule usually includes music from two pianists, one from the jazz community and one from the broader piano community. This is where traditions collide: jazz and classical, improvised and written music. Currently, it’s Bud Powell and George Gershwin. Previously, it has been Fred Hersch and Glenn Gould (J.S. Bach). Later this year, I think it will be Monk and Stravinsky. I check ‘em out until I can’t take ‘em anymore!
My view is that building vocabulary trumps all considerations regarding jazz vs. classical, or improvised vs. written music. If it moves me, I don’t hesitate to study it, learn it and maybe incorporate it into my performing repertoire. Of course, this requires an extra consideration, as I mentioned in my answers for Peter:
Quick recap: Sometimes acquiring solo piano vocabulary means reaching into a tradition that extends beyond jazz.
Jazz piano is only an extension of a much broader, 300+ year old keyboard tradition (an extension that could use more exploring, I might add!). There are many non-jazz composers and pianists who have contributed to a massive body of repertoire that explores every extremity of piano playing.
Is it necessary to check out the classical piano tradition to play meaningful music? No. Is it necessary to check out the classical piano tradition to understand and appreciate the piano to its fullest capacity? Yes! I should add that just as the jazz community listens for acknowledgement of the jazz tradition, the piano community listens for acknowledgement of the piano tradition.
For this reason, my practice schedule usually includes music from two pianists, one from the jazz community and one from the broader piano community. This is where traditions collide: jazz and classical, improvised and written music. Currently, it’s Bud Powell and George Gershwin. Previously, it has been Fred Hersch and Glenn Gould (J.S. Bach). Later this year, I think it will be Monk and Stravinsky. I check ‘em out until I can’t take ‘em anymore!
My view is that building vocabulary trumps all considerations regarding jazz vs. classical, or improvised vs. written music. If it moves me, I don’t hesitate to study it, learn it and maybe incorporate it into my performing repertoire. Of course, this requires an extra consideration, as I mentioned in my answers for Peter:
“I ask myself two things: 1) Does this composition move me? 2) Am I capable of sharing/re-creating this experience for my audiences? If the answer to both questions is “yes,” I’ll take steps to incorporate that composition into my performance rep.”
But it all gets incorporated into my vocabulary: Music vocab, piano vocab, improvisatory vocab or otherwise!
Stay tuned for Part 4!