The next monthly student concert is approaching! These sessions are designed to be a calm, supportive space to share whatever is currently on your music stand. Whether you have a polished piece ready for performance or a work-in-progress that you'd simply like to 'air out' in a friendly environment, your contribution is welcome. Sharing your playing is one of the most effective ways to build confidence and celebrate the steady progress you're making. How to Join and Perform If you would like to take part, the process is simple: 1. Navigate to the Calendar tab. 2. Locate the next Monthly Student Concert event. 3. Click on the event and follow the short sign-up instructions provided. Every performance, regardless of the stage of the piece, helps you grow as a musician and offers genuine inspiration to the rest of the Circle. How to Watch and Support If you aren't performing this time, you are warmly invited to join the audience. This month’s concert is a pre-recorded livestream, allowing you to simply tune in and enjoy a calm morning of music from fellow Circle members—no pressure, just inspiration. 📍 Watch via the Calendar tab — the viewing link is located inside the event description.

Has your practice ever sounded like this…?

I've been trying to play Ashokan Farewell for so long and never seem to make any progress and put it away again each time. Today I picked it back up and am determined to get a grip of it this time. I'm going to write down my practice and slow it right down, breaking it into smaller sections. Does anyone else have a nemesis piece you are going to revisit this year and how are you going to tackle it?

It is a common milestone in the self-taught journey for jazz pianists: reaching a point where the blues scale and a good ear have taken things as far as possible. Eventually, a plateau often appears where improvisation starts to feel like "running scales" rather than playing authentic, idiomatic jazz. To bridge the gap between "intuitive foundations" and "intentional jazz," I recommend a structured path using two specific "bibles" of the genre. These resources remove the guesswork by providing clear, page-by-page drills and the specific theory behind every note choice. The Core Resources 1. The Jazz Piano Book (Mark Levine). This is the industry standard for piano-specific textures and "the sound." For anyone wanting to move from basic chords to the sophisticated voicings of Oscar Peterson or the unique rhythmic "lag" of Erroll Garner, this is the resource. It focuses heavily on the actual "how-to" of sitting at the keys. 2. The Berklee Book of Jazz Harmony (Nettles/Graf). While Levine provides the "sound," Berklee provides the "map." This book is essential for mastering chord-scale theory. It explains exactly which scales to use over specific chords based on their function in a song. It turns jazz theory into a clear, logical system. Why Use Both? Using just one can often lead to gaps. Levine’s book is brilliant but can be anecdotal; the Berklee book is mathematical and rigorous. Combining them helps a pianist to: - Move Beyond Scales: Stop just running up and down modes and start using "bebop" vocabulary, chromatic enclosures, and arpeggios from the 3rd. - Master Functional Harmony: Understand exactly when to use a Dorian, Mixolydian, or Altered scale based on the chord progression. - Build Professional Textures: Transition from simple left-hand chords to "shell voicings," stride foundations, and advanced rhythmic displacement. By following the specific chapters and exercises in these two texts, the transition from "playing by ear" to "playing with intent" becomes a clear, manageable process.

This is the first time I've kept a record of my practice and it has really helped me manage my expectations and pace. I usually try to only tackle a small section at at time but writing it down with the speed has also helped me make progress. I had recorded myself playing this piece 2 weeks ago and it was slow and disjointed. The difference after more targeted practice is noticeably improved. I am encouraged to try a new piece alongside this one now. I do my practice each morning for 30 minutes before work but didn't have as much time this week because I was away so am really pleased with the progress. Does anyone else keep a log or record themselves?