BIJAN TAGHAVI- PIANIST, COMPOSER, EDUCATOR
  • About
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    • Pianist
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    • Articles
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    • Past Performances
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    • Video Exchange Lessons
    • Testimonials
  • Transcriptions
    • Bijan Taghavi >
      • Stella by Starlight (Solo Piano)
      • Body and Soul (Solo Piano)
      • Autumn Leaves (Solo Piano)
      • I Should Care (Solo Piano)
      • Have You Met Miss Jones (Solo Piano)
    • Bill Evans
    • Kenny Barron
    • Barry Harris
    • Hank Jones
    • Herbie Hancock
    • Oscar Peterson
  • Lesson Videos & PDFs
    • Comping >
      • Group Comping Voicings Overview
      • Jazz Piano Comping EXPLAINED!
      • Oscar Peterson Take The A Train Transcription Analysis
      • 2 Tips Comping For Vocalists
      • Chromatic Approach
      • LH Contrasting Texture (Body and Soul)
      • Comping over Rhythm Changes (for a Bass Solo)
      • The Secrets to Walking Basslines on Piano
      • Funky Bassline
      • LH Comping Approach for Solo Piano
    • Harmony >
      • How to Harmonize a Melody with 2 Voices
      • Inverted Pedal Point on Rhythm Changes
      • How to Jazzify the Living Pianos Theme Song
      • How to Get a Full Sound out of the Piano
      • 5 Inner Voice Movements on "I Should Care"
      • How to Create RH Counter-Melodies (Body and Soul)
      • 2 Ways to Use a Pedal Point
      • Create Chords From ANY Scale (Barry Harris)
      • How To Create Inner Voice Movement
      • How to REHARMONIZE Jazz Standards
    • Harmony P.2 >
      • Barry Harris Round Midnight Reharmonization
      • 3 Inner Voice Movements for a dom7 chord
      • How to Use Barry Harris' "Diminished Notes"
      • Solo Piano Rubato Intro on "Days of Wine and Roses"
      • Let Your Melodies Dictate Your Chords (Solo Piano Rubato Intro P.2)
    • Improv >
      • Barry Harris Passport (Blues) Improv Analysis
      • Kenny Barron Autumn Leaves Melody Transcription Analysis
      • Rhythm Changes Improv Ideas (Bijan Transcription)
      • Rhythmic Motifs in Jazz Improvisation
      • Chordal Improvisation
      • Chordal Improvisation Part 2
      • Jazz Improv - How to Play OUTSIDE
      • How to Create LH Counterpoint (Body and Soul)
      • 2 Ways to Create LH Counterpoint (P.2)
      • Using Quotes in Jazz Improvisation (Quoting "A Love Supreme" on "How Deep Is The Ocean")
    • Improv P.2 >
      • Jazz Improv Tip: DEVELOP Your Ideas (2 Melodic Motifs on "Esau")
      • Modal Solo on min7b5 (from "It Always Happens")
      • Using Shapes in Jazz Improv
      • How to Use the Melody in Your Improvisation
      • Watch What Made Rodney Whitaker "Swink"
      • How to Outline Chord Changes (Improv on "Autumn Leaves")
      • 16th Note Improv Lines over "Autumn Leaves"
      • Soloing in 3/4 on "Autumn Leaves"
      • How to STOP Playing the Same Licks in Your Jazz Solos
      • 5 Octaves in 5 Seconds with this KILLER Run
    • Improv P.3 >
      • What is Over the Barline Phrasing in Jazz Improvisation?
      • How to Use Theme & Variation like Kenny Barron
      • Modal Solo on Cmin7 (from "Crossfire")
      • Use This Motif When Improvising in 3/4!
      • 2 Ways to Use Triplets in Your Improvisations
      • 3 Ways to Approach the Bridge of Rhythm Changes
      • How to Use Shapes to Achieve New Sounds in Your Improvisations
      • Jazz Improv Tip: DEVELOP Your Ideas P.7 (I Fall in Love Too Easily)
      • How to Play Bluesy over Non-Blues Chord Changes
      • What are Red Garland Block Chords?
    • Improv P.4 >
      • Repetition in Improvisation
      • How to Use 16th Notes in Your Jazz Solos (Days of Wine and Roses)
      • How to Adapt Improv Shapes to Fit Over New Chords (Days of Wine and Roses)
      • 3 Tips to Take Your 16th Note Lines to the Next Level
      • Chordal Improvisation Part 3
      • 3 Ways to Sound Like McCoy Tyner
      • Use this Shape to End Your Phrases
      • Chordal Improvisation Part 4
      • What are New Orleans Block Chords?
      • 3 Tips for Soloing in 3/4
    • Improv P.5 >
      • How to Build Your Solo Using Motifs
      • Stop Time
      • 16th Note Line EXPLAINED (Have You Met Miss Jones)
    • Rhythm >
      • Polyrhythm vs Polymeter EXPLAINED
      • How to Create Rhythmic Tension in 3/4
      • 2 Ways to Create Rhythm Section Interplay (Rhythmic Telepathy Part 8)
      • Soloing on an E Minor Blues in 12/8
      • The SECRET To Making Stride Piano Swing
      • Polymeters EXPLAINED (Superimposing 3 over 4)
      • Improvising over Changing Time Signatures (over Ahmad Jamal's "Crossfire)
      • Rhythmic Telepathy PART 6 ("Secret Love" arr. Bijan Taghavi Trio)
      • Rhythmic Telepathy PART 7 (Superimposing 3 in 4 on "End of a Love Affair")
      • Jazz Slang P.2 - Double Time Feel EXPLAINED
    • Rhythm P.2 >
      • Metric Modulation over "Autumn Leaves" (Part 1: 4 to 3)
      • Metric Modulation over "Autumn Leaves" (Part 2: 3 to 4)
      • Playing in 2 vs in 4 (Part 2)
      • Half Time vs Double Time ("Here's That Rainy Day")
      • How to "Set Up" The Band
      • Metric Modulation on Have You Met Miss Jones
      • How to Swing
      • Communication on the Bandstand
    • Piano Orchestration >
      • 3 Ways to Orchestrate A Melody ("Asojano" from TrioGram)
      • Orchestrating A Melody P.2 ("Esau" from TrioGram)
      • How to Orchestrate a Melody for Solo Piano (Autumn Leaves)
      • How to Orchestrate a Melody for Solo Piano (I Fall in Love Too Easily)
      • PAINT: How to Orchestrate a Melody for a Ballad (Here's That Rainy Day)
      • How to Orchestrate a Melody for Solo Piano (Have You Met Miss Jones)
    • Piano Technique >
      • 3 Parts of the Body
      • 2 Reasons Why You MUST Strike From The Surface of the Keys
      • How to Bring Out the Melody in Your Playing
      • SECRET Practice Exercise for Voicing Control
      • How to Use Dynamics to Create Drama
      • How to End a Song Quietly
      • 3 Piano Technique Tips - Lessons From Robert Estrin
      • How to Play FAST
      • Subtractions Practice Technique (for Syncopation & Hand Independence)
      • Crossed-Hands Piano Technique (Chick Corea's Matrix)
    • Composition/Arranging >
      • 3 Ways to Use Counterpoint in Jazz
      • 3 Tips When Composing an AABA Tune
      • Jazz Trio Intro EXPLAINED
      • Ahmad Jamal Ending Chords
      • Inspired by Ahmad Jamal's Poinciana ("Secret Love" arr. Bijan Taghavi Japan Trio)
      • How to Fade Out (Ending to "Secret Love")
      • The CRAZIEST Cadenza You've Ever Heard
      • How to End a Ballad with a Solo Piano Cadenza ("Here's That Rainy Day")
      • The Magic of Circle of 5ths Endings
      • Classic Ending for Any Jazz Standard (#4 Ending)
  • Press
    • Interviews
    • Quotes
    • EPK
  • Contact

Educator

Teaching Philosophy

What separates humans from all other animals is that we are able to progress as a society by passing down information from one generation to the next. This is the cornerstone of civilization without which we would still be cavemen hunting and gathering. So, teaching is fundamental to the development of culture.

​Everyone processes information in unique ways. One size does not fit all. It is essential to develop a relationship with students in order to have any meaningful discourse. Simply put, you can't teach at someone, you must teach with them. Why? Teaching would be a simple activity if all that was necessary was to come up with a repeatable system. While some aspects of teaching certainly must be broken down methodically into digestible chunks which can be assimilated by the student, each individual processes information in different ways. Some people learn by observation, others by activities as well as other ways of digesting information and understanding concepts. You must find what works with each individual. 

I was classically trained by my mentor, Robert Estrin, a phenomenal educator who I was incredible fortunate to study with. However, when I made the transition to jazz, I had to develop a keen sense of how to figure things out. I impart to my students a very logical progression of concepts that build on one another logically. This provides the cornerstone for my teaching. I also believe that being a great teacher has the element of being a great listener like a psychologist - attempting to understand the feelings and motivations of the student. After all, teaching isn't just about dumping a bunch of information at someone; it is getting into their head and their soul so that you can find what makes them tick so that they feel compelled and motivated to learn. 
"The method is the student"
(Bijan Taghavi, 7/21/16 LivingPianos Podcast on Teaching)

Study With Bijan

​Bijan Taghavi teaches privately to students of all ages and levels, online via Zoom or Personalized Correspondence, covering areas such as:
  • Beginning Piano
  • Jazz Piano Performance
  • Classical Piano Performance
  • Piano Technique
  • Jazz Theory/Harmony
  • Improvisation
  • Composition/Arranging
  • Preparing Students For College Auditions 

​ Contact Bijan for his availability and current rates.​ For more about the Personalized Correspondence Method, click here.

Educational Background

  • Educator for JazzPianoSchool.com: where Bijan has published over twenty articles, created content for their online courses, and works with their students directly by managing their Facebook Group where he answer questions, leads discussions, and conducts student playing evaluations.
  • Instructor at Michigan State University: where he has developed the curriculum for Undergraduate Piano for jazz majors and teaches 3 classes with an emphasis on harmony and improvisation
  • Instructor at 2020 West Michigan Jazz Intensive Workshop: alongside the MSU Professors of Jazz, where he taught big band rehearsals, Piano Studio, Rhythm Section sectionals, and an Improv Summit.
  • Guest Panelist for "Hearin' The Changes": Bijan has been a guest panelist for Luther Hughes' weekly masterclass at California State University, Fullerton: "Hearin' The Changes" alongside renowned jazz educators Bert Ligon, Bill Cunliffe, Chuck Israels, and others. 

Masterclasses

Available for masterclass clinics in areas such as: ​
  • Solo Piano Techniques for Jazz Pianists
  • Comping for Jazz Pianists 
  • ​Voice-Leading
  • Harmonization Techniques
  • Transcription & Improvisation Analysis
  • Ensemble Playing 
  • Seminar on Practicing
Click here for examples of masterclass offerings.

Student Testimonials

Students

"I have been entranced by your professional analysis of Kenny Barron's Solo On a Slow Boat to China. It must be my 5th or 6th time through it, and I'm always inspired. Your step-by-step presentation with your own pianistic renderings is very instructive, and you demystify the genius and celerity of Kenny's magic hands. I must say that discovering you & your Artist Highlight feature on the JazzPiano site has been a very powerful resource and inspiration for me. Your work is truly awesome." (Brainerd)
"Your method is exactly what I needed. I know I have to get all these building blocks in place, as I have too many holes in my playing, and I think your approach will fill those gaps and allow me to move forward." (Ron)
"One thing I’ve enjoyed about your advice Bijan here and elsewhere is you have a way of building our confidence to make our own best decisions. That to me is sign of a good educator. Thanks so much!" (Chris)
​

Educators

“Bijan’s methodical and intellectual approach to teaching is some of the best I’ve ever seen. He carefully considers all the minute details and nuances that are needed to help the student achieve the best results with efficiency. He is easily able to quickly assess a project, issue, or problem and then without hesitation begin to form a plan or solution which he fluidly can articulate to the most beginning level student all the way to a very advanced collegiate level.” (Brenden Lowe, JPS Founder)

“Bijan has been teaching piano, theory and composition since he was in high school. I have recommended many students to him and have gotten incredibly positive feedback from the diverse people he has worked with. He has the right temperament, expansive knowledge, as well as the sincere desire to help people which are essential elements for effectiveness in teaching. Bijan is also incredibly adept at utilizing technologies with his online video lessons incorporating audio, video and MIDI in creative ways.” (Robert Estrin, LivingPianos Founder)​

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  • About
  • Media
    • Pianist
    • Educator
    • Composer/Arranger
    • Articles
  • Calendar
    • Upcoming Performances
    • Past Performances
  • Educator
    • Video Exchange Lessons
    • Testimonials
  • Transcriptions
    • Bijan Taghavi >
      • Stella by Starlight (Solo Piano)
      • Body and Soul (Solo Piano)
      • Autumn Leaves (Solo Piano)
      • I Should Care (Solo Piano)
      • Have You Met Miss Jones (Solo Piano)
    • Bill Evans
    • Kenny Barron
    • Barry Harris
    • Hank Jones
    • Herbie Hancock
    • Oscar Peterson
  • Lesson Videos & PDFs
    • Comping >
      • Group Comping Voicings Overview
      • Jazz Piano Comping EXPLAINED!
      • Oscar Peterson Take The A Train Transcription Analysis
      • 2 Tips Comping For Vocalists
      • Chromatic Approach
      • LH Contrasting Texture (Body and Soul)
      • Comping over Rhythm Changes (for a Bass Solo)
      • The Secrets to Walking Basslines on Piano
      • Funky Bassline
      • LH Comping Approach for Solo Piano
    • Harmony >
      • How to Harmonize a Melody with 2 Voices
      • Inverted Pedal Point on Rhythm Changes
      • How to Jazzify the Living Pianos Theme Song
      • How to Get a Full Sound out of the Piano
      • 5 Inner Voice Movements on "I Should Care"
      • How to Create RH Counter-Melodies (Body and Soul)
      • 2 Ways to Use a Pedal Point
      • Create Chords From ANY Scale (Barry Harris)
      • How To Create Inner Voice Movement
      • How to REHARMONIZE Jazz Standards
    • Harmony P.2 >
      • Barry Harris Round Midnight Reharmonization
      • 3 Inner Voice Movements for a dom7 chord
      • How to Use Barry Harris' "Diminished Notes"
      • Solo Piano Rubato Intro on "Days of Wine and Roses"
      • Let Your Melodies Dictate Your Chords (Solo Piano Rubato Intro P.2)
    • Improv >
      • Barry Harris Passport (Blues) Improv Analysis
      • Kenny Barron Autumn Leaves Melody Transcription Analysis
      • Rhythm Changes Improv Ideas (Bijan Transcription)
      • Rhythmic Motifs in Jazz Improvisation
      • Chordal Improvisation
      • Chordal Improvisation Part 2
      • Jazz Improv - How to Play OUTSIDE
      • How to Create LH Counterpoint (Body and Soul)
      • 2 Ways to Create LH Counterpoint (P.2)
      • Using Quotes in Jazz Improvisation (Quoting "A Love Supreme" on "How Deep Is The Ocean")
    • Improv P.2 >
      • Jazz Improv Tip: DEVELOP Your Ideas (2 Melodic Motifs on "Esau")
      • Modal Solo on min7b5 (from "It Always Happens")
      • Using Shapes in Jazz Improv
      • How to Use the Melody in Your Improvisation
      • Watch What Made Rodney Whitaker "Swink"
      • How to Outline Chord Changes (Improv on "Autumn Leaves")
      • 16th Note Improv Lines over "Autumn Leaves"
      • Soloing in 3/4 on "Autumn Leaves"
      • How to STOP Playing the Same Licks in Your Jazz Solos
      • 5 Octaves in 5 Seconds with this KILLER Run
    • Improv P.3 >
      • What is Over the Barline Phrasing in Jazz Improvisation?
      • How to Use Theme & Variation like Kenny Barron
      • Modal Solo on Cmin7 (from "Crossfire")
      • Use This Motif When Improvising in 3/4!
      • 2 Ways to Use Triplets in Your Improvisations
      • 3 Ways to Approach the Bridge of Rhythm Changes
      • How to Use Shapes to Achieve New Sounds in Your Improvisations
      • Jazz Improv Tip: DEVELOP Your Ideas P.7 (I Fall in Love Too Easily)
      • How to Play Bluesy over Non-Blues Chord Changes
      • What are Red Garland Block Chords?
    • Improv P.4 >
      • Repetition in Improvisation
      • How to Use 16th Notes in Your Jazz Solos (Days of Wine and Roses)
      • How to Adapt Improv Shapes to Fit Over New Chords (Days of Wine and Roses)
      • 3 Tips to Take Your 16th Note Lines to the Next Level
      • Chordal Improvisation Part 3
      • 3 Ways to Sound Like McCoy Tyner
      • Use this Shape to End Your Phrases
      • Chordal Improvisation Part 4
      • What are New Orleans Block Chords?
      • 3 Tips for Soloing in 3/4
    • Improv P.5 >
      • How to Build Your Solo Using Motifs
      • Stop Time
      • 16th Note Line EXPLAINED (Have You Met Miss Jones)
    • Rhythm >
      • Polyrhythm vs Polymeter EXPLAINED
      • How to Create Rhythmic Tension in 3/4
      • 2 Ways to Create Rhythm Section Interplay (Rhythmic Telepathy Part 8)
      • Soloing on an E Minor Blues in 12/8
      • The SECRET To Making Stride Piano Swing
      • Polymeters EXPLAINED (Superimposing 3 over 4)
      • Improvising over Changing Time Signatures (over Ahmad Jamal's "Crossfire)
      • Rhythmic Telepathy PART 6 ("Secret Love" arr. Bijan Taghavi Trio)
      • Rhythmic Telepathy PART 7 (Superimposing 3 in 4 on "End of a Love Affair")
      • Jazz Slang P.2 - Double Time Feel EXPLAINED
    • Rhythm P.2 >
      • Metric Modulation over "Autumn Leaves" (Part 1: 4 to 3)
      • Metric Modulation over "Autumn Leaves" (Part 2: 3 to 4)
      • Playing in 2 vs in 4 (Part 2)
      • Half Time vs Double Time ("Here's That Rainy Day")
      • How to "Set Up" The Band
      • Metric Modulation on Have You Met Miss Jones
      • How to Swing
      • Communication on the Bandstand
    • Piano Orchestration >
      • 3 Ways to Orchestrate A Melody ("Asojano" from TrioGram)
      • Orchestrating A Melody P.2 ("Esau" from TrioGram)
      • How to Orchestrate a Melody for Solo Piano (Autumn Leaves)
      • How to Orchestrate a Melody for Solo Piano (I Fall in Love Too Easily)
      • PAINT: How to Orchestrate a Melody for a Ballad (Here's That Rainy Day)
      • How to Orchestrate a Melody for Solo Piano (Have You Met Miss Jones)
    • Piano Technique >
      • 3 Parts of the Body
      • 2 Reasons Why You MUST Strike From The Surface of the Keys
      • How to Bring Out the Melody in Your Playing
      • SECRET Practice Exercise for Voicing Control
      • How to Use Dynamics to Create Drama
      • How to End a Song Quietly
      • 3 Piano Technique Tips - Lessons From Robert Estrin
      • How to Play FAST
      • Subtractions Practice Technique (for Syncopation & Hand Independence)
      • Crossed-Hands Piano Technique (Chick Corea's Matrix)
    • Composition/Arranging >
      • 3 Ways to Use Counterpoint in Jazz
      • 3 Tips When Composing an AABA Tune
      • Jazz Trio Intro EXPLAINED
      • Ahmad Jamal Ending Chords
      • Inspired by Ahmad Jamal's Poinciana ("Secret Love" arr. Bijan Taghavi Japan Trio)
      • How to Fade Out (Ending to "Secret Love")
      • The CRAZIEST Cadenza You've Ever Heard
      • How to End a Ballad with a Solo Piano Cadenza ("Here's That Rainy Day")
      • The Magic of Circle of 5ths Endings
      • Classic Ending for Any Jazz Standard (#4 Ending)
  • Press
    • Interviews
    • Quotes
    • EPK
  • Contact