🎧 5 Songs That Taught Me More About Music Than Music School Did
A deep dive into music that made me understand music in a different and deeper way
Don’t let the title fool you; I loved spending four years pursuing a music degree. I learned valuable things but since leaving school, listening to music on a deep level has also afforded me so much more musical information. This post is more about those “aha” moments in my playing since leaving school. Music constantly teaches me, and part of what I love is the endless inspiration available if you’re listening for it. These five songs (in no particular order) have fundamentally shaped my playing and musicianship.
Bridge Over Troubled Water - Jacob Collier feat. Yebba, John Legend, and Tori Kelly, Djesse Vol. 4 (2024)
Jacob Collier can be a contentious topic among my musician colleagues, so including him on this list may spark some disagreement. (Come at me, algorithm!) As someone who enjoys maximalism and virtuosity in music, Jacob's work doesn't offend me as much as it does others. I often find myself thinking, “Wow, this is technically impressive, but it doesn’t really move me creatively.”
That said, this song is incredibly moving and inspiring. It’s an a cappella cover of "Bridge Over Troubled Water" by Simon and Garfunkel, featuring three guest vocalists (Yebba, John Legend, and Tori Kelly) with Jacob adding multitracked choral pads behind them. I first discovered this track through a behind-the-scenes video of Tori Kelly learning and recording her parts with Jacob. I already knew she was one of the best singers out there, but witnessing her mastery in this context truly floored me. Since then, I’ve returned to this song and the video repeatedly, often dismissing much of the rest of the album (with "Little Blue" being another exception). It takes a lot for a piece of music to really move me, and this one got me!
If I Should Lose You - Mulgrew Miller (piano), Derrick Hodge (bass), Rodney Green (drums) Live at The Kennedy Center Vol. 1 (2006)
This song showed me what melodic soloing sounds like at high speeds. To this day, I consider it one of my favorite piano solos. I’ve always viewed transcribing solos as homework, and I’m rarely compelled to do it, finding it important yet tedious. However, this song was different. The first time I heard it, I felt compelled to listen on repeat and then to learn it. The section between 4:00 and 4:30 consumed my mind. It was the first solo I could sing through entirely, teaching me the value of exploring music that engaged me, rather than what felt like an assignment. Since then, I’ve been choosier about what I learn and transcribe, waiting for a song to truly grab me. This approach has helped refine my ear and my tastes. Beyond my love for the solo, I also adore the intro's pedal point. This song is top shelf from beginning to end.
Impresiones Intimas No. 1 - Frederick Mompou (composed 1911)
This short solo piano piece provided me with clarity on voice leading and was one of the first pieces that guided me toward playing modern music without relying solely on traditional melody in the right hand and harmony in the left hand. The piece comprises constant conflict and resolution in both hands, forming larger phrases that resolve over time. It’s like "Inception" for chord motion, layering conflict and resolution upon more conflict and resolution in a mesmerizing way. It’s absolutely incredible.
Overjoyed - Stevie Wonder, In Square Circle (1985)
In my opinion, this is one of the best choruses ever written. The chorus serves as a masterclass in modulation, enhancing the melody and lyrics. The song is in Eb, and the chorus begins with the vocal line, “...and though you don’t believe,” transitioning to Ab (the IV chord in Eb). Four bars later, the same melody returns with the line, “...can make it true if you would believe,” this time moving up a whole step to Bb via the Major VI (C). Even though it’s a small change (only one step in the circle of fifths), it feels like the sun breaking through, like a new day, with Stevie pleading with the person he’s addressing. This brightness lasts only a couple of bars before a ii-V in Eb returns us to the original groove and key.
Leaving Again/In The Wee Small Hours - Kurt Elling (vocal) and Laurence Hobgood (piano), Nightmoves (2007)
This rendition of one of my favorite standards remains one of the best modern piano and vocal tracks. The subtle tempo and use of Colla Voce are beautiful; the two artists feel deeply in sync throughout the song. Initially, I was captivated by Kurt’s vocal delivery, especially his intonation and vibrato. I particularly loved the final note, where he uses a slight vocal fry in a musical way. Over the years, however, I've come to appreciate Laurence Hobgood as the unsung hero of the track. His subtle chord substitutions color the melody beautifully without overpowering it. The transition between the two pieces is also delightfully simple yet impactful. I’ve incorporated that specific three-note arpeggio voicing as a setup in several songs when playing solo piano with a vocalist. It always brings an emotional depth that I find beautiful—vocalists love it too!