I'm a classically trained pianist. Took lessons all through my childhood. I've continued to play and read classical literature all my life. But I never learned anything about jazz piano. I also know a lot about music theory, am a good sight reader and have a good ear.

At this point in my life (>40) what's the best approach to try to learn to play jazz piano music? This could include improvisation, but looking for some tips on how to get started. And some things I can do on my own.

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I think a big part of getting into jazz as a trained musician means experimenting on your own. One of the biggest challenges for you will likely be learning the style of jazz piano, i.e. being able to play and not sound "square".

The best jazz musicians learned by doing. They learned the "rules" in an intuitive sense just by going to gigs and using their ears. Now we have jazz educators, of course, so that process can be made a little less painstaking. One such jazz educator has written the well-regarded Jazz Piano Book that may be enough to get you off the ground if you don't want to go out and find a teacher.

You can also find plenty of books to get you familiar with jazz voicings through notation. The extremely popular Jamey Aebersold Play-A-Long series contains a selection of transcribed piano voicings from the existing play along CDs.

If you're well-trained in music theory and good at sight reading, then you've already got some strong and important assets. I have a background similar to yours, so here are some things that I remember from when I got started:

about reading: jazz pieces swing, which means for instance that two subsequent eighth notes should approximately be read as "dotted eighth note followed by a sixteenth note". I'm sure this sounds obvious to jazz players, but it confused many excellent classical piano players I know when they had to sight-read some of the pieces I was practicing.

get your hands on "The Real Book" volumes, which are standard books in jazz and contain many interesting tunes. This will also help you get acquainted with the above points, and help you learn frequently occurring patterns of chords (like 2-5-1) so you'll have a better idea of the big picture. In my experience, this is another big difference with classical music, where my training was more about playing a given sequence of notes rather than about getting the general structure of a song.

keep your excellent technical skills provided by your classical training, but try to be more flexible. There are a few chords in jazz music that might sound dissonant when you first hear them, especially when coming from a classical background, but you'll get used to them. This is also relevant to improvisation, if you want to avoid merely using scales.

Listen to lots of jazz. Not just current players, but go back to the beginning and start listening to how jazz piano evolved - Art Tatum, Bud Powell, Red Garland, Bill Evans, Duke Ellington (his actual piano playing), Monk, McCoy Tyner, Chick Corea...there are hundreds of names. Be able to identify them by hearing them and why they sound like they sound.

However, the best thing to do is take some University jazz courses and take some lessons from the best jazz musician(s) you can find in your area. Also, if there are jazz workshops in your town or city, get into one of the better ones.

Have fun with the transition. I play with a Juno award winning jazz bass player who divides his time between the jazz and classical world. He made the transition many years ago and says it was the best move he ever made. I certainly envy all those who can do both.

I am pretty much exactly in your situation. Some already mentioned the Jazz Piano Book, which is great for classical-trained pianists, though it's also "intense". As a professional Jazz player friend of mine put it, if you study 8 hours from that book daily, you will be a pro jazz player in 3 years.

You need to do something about your mindset. 1. You need to get rid of the habit of sight reading which is very prevalent of music students in my country: 2. You also need to get out of the mold and mindset where you must everything written for you. Let's just say that Jazz Musicians can hardly play the same piece exactly the same way twice with the same feel, same style or same notes.

Once you catch the swing feel and developed your ability to melody fake, they you can move on to do ad-lib where you have total freedom to do whatever you want with music. Take your time. A mainstream note-reading student is going to find this a huge change of mindset.

I'm classically trained, and that kind of age, and took up jazz piano three years ago. I think all the suggestions here are great, but finding a good teacher is really high on the list. For me, there were so many stylistic aspects of playing that are different from what I was used to that I was "blind" to, even though I thought I understood them. Swing, for example -- I thought I got it, but it took months before I realized I didn't and really began the process of getting it. Anyway it happens that my piano teacher is the author of a jazz piano book which personally I love, and I think it's written and organized in a way that works very well for someone coming from a classical background. It's very thorough in terms of the theory, but also kind of bootstraps you through a different relationship to the keyboard, in terms of intervals and chords and scales and colors.

Chopin composed his most well-known nocturne at the tender age of 20, which perhaps accounts for its youthful passion. The build-up from the main theme and waltz-like accompaniment to the dramatic trill-filled finale makes the Nocturne in E-flat Major a strong contender for the most beautiful piano work ever written.

Rebecca Clarke was a 20th-century British composer, who trained at the Royal Academy of Music and Royal College of Music in London before crossing the pond and spending the rest of her life in America. Her music is always thrilling, experimental and enormously powerful. Her Viola Sonata is considered one of the greatest pieces ever written for the instrument. And just listen to the power packed into her Piano Trio for piano, cello and violin.

During one of his breaks, I talked with Christer Norden. A classical piano musician trained at Berkeley College who also works as a professional photographer, he plays at the Ahwahnee four nights a week. He spends about six hours on those days preparing and practicing his program. When I told him about my recent acceptance as a performing member of the New York Piano Society, I saw something flicker across his face, as though he were considering asking me to play. The moment passed.

Here is my problem. In piano music,

a chord is held down simultaneously. But then

some voices can move while other notes are still held down.

i.e the chord notes have different durations? Does anyone

know an elegant way to deal with this?

It allows using a kind of text-based music notation, which to me at least is much easier to use than midi note numbers. If desired, Panola allows you to easily transform the text based notation into midi note numbers to perform further calculations/transformations.

If you did classical lessons like me, you may be tempted to play broken chords in the patterns you practiced along with your scales. But try to switch things up a bit here. Make your brain work a little to find new orders of notes to play!

Love classical music but not sure where to start? Head over to Classical Piano Quick Start, four free lessons designed for beginners taught by Victoria Theodore. Victoria is a classically trained pianist with degrees from Oberlin College and Stanford University, and has played with Beyonc and Stevie Wonder. Start your classical journey with Victoria today!

There are two main types of piano: the grand piano and the upright piano. The grand piano offers better sound and more precise key control, making it the preferred choice when space and budget allow. The grand piano is also considered a necessity in venues hosting skilled pianists. The upright piano is more commonly used due to its smaller size and lower cost.

In the nineteenth century, influenced by Romantic music trends, the fortepiano adopted changes such as using the cast iron frame (which allowed much greater string tensions), and aliquot stringing which gave grand pianos a more powerful sound, a longer sustain, and a richer tone. Later in the century, as the piano became more common, it allowed families to listen to a newly published musical piece by having a family member play a simplified version.

The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing, songwriting and rehearsals. Despite its weight and cost, the piano's versatility, extensive training of musicians, and widespread availability in venues, schools, and rehearsal spaces have made it a familiar instrument in the Western world.

The piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches. The first string instruments with struck strings were the hammered dulcimers,[1] which were introduced in the Middle Ages in Europe. During the Middle Ages, there were several attempts at creating stringed keyboard instruments with struck strings.[2] By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well developed. In a clavichord, the strings are struck by tangents, while in a harpsichord, they are mechanically plucked by quills when the performer depresses the key. Centuries of work on the mechanism of the harpsichord in particular had shown instrument builders the most effective ways to construct the case, soundboard, bridge, and mechanical action for a keyboard intended to sound strings. 0852c4b9a8

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