2:16 What’s your musical background?
3:20 Do you have Absolute or Perfect Pitch?
4:04 Were you always experimenting and improvising from the beginning?
4:48 What sort of things would you improvise?
5:36 What kind of music were you listening to growing up?
6:26 Did you receive a pretty standard approach to learning classical repertoire?
7:10 How many years did you have lessons? How many teachers?
7:57 What’s it like to grow up in Holland, musically?
8:59 Did you keep your improvising going into your teenage years? Did you also play jazz?
9:58 What was your understanding of theory growing up?
11:19 What was your music theory training like?
13:22 Did you agree with all the theory that you were taught?
14:05 What did your teachers do differently from conventional teachers?
15:03 How does the mind work differently in improvisation?
15:56 When did that insight click for you?
17:31 How do you get kids to integrate theory when they’ve never really thought about it?
19:26 What are the common mistakes students make when trying to learn to improvise?
20:03 What would students be trying to hear from you in call and response?
20:28 How would students know what would be the right response, in call and response?
20:47 Would a pianist play two hands?
21:34 As an example, what’s a challenge for another instrument?
22:16 After call and response, what’s next for students?
23:03 More on transposition
23:18 How about changing from the major to the minor?
23:30 Is there any implied bass to the melodic ideas you are playing?
24:21 Do string players imagine the bass while playing?
25:20 Are the counterpoint rules still in place during live playing?
26:05 What advice can you give to other teachers who want to run a classical improvisational model
27:34 What would you do in a 1 hour class with an ensemble?
28:34 Can you give an example of working on 1 idea
29:54 Talk about your new approach to harmonic analysis
32:56 Why did you choose the minor 3rd as a strong progression?
33:31 Is that the same with C to Eb?
34:46 How effective has it been with students?
35:40 How does someone learn music theory with the goal of practical composition and improvisation
37:28 How does this change your perception of traditional harmony
38:01 If a parent wanted to start their child’s music journey correctly, what should they do?
39:36 How should somebody look at a piece they’ve played, break it down and play around with it?
40:25 Would you analyze late romantic music with your new method of analysis?
41:09 What materials someone can check out online about improvisation in classical music?
43:05 Talking about YST Classified where Karst plays 3 jazz standards in a classical virtuoso style
44:09 Were those performances completely improvised?
44:45 Do you still maintain the basso continuo?
45:13 Do you have to maintain the jazz harmony?
46:12 How do you improvise in the style of Bach?
46:48 What kind of ideas do you commonly use?
48:00 Is counterpoint the basis of it all and what’s the best way to learn it?
48:52 What counterpoint resources can you recommend?
49:29 How would we start introducing improvisation into earlier music education?
50:30 How has the culture around classical improvisation changed over the last few decades?
52:18 How does the audience respond to improvisation vs standard repertoire?
53:52 Does the audience listen closer when the performer is improvising?
54:47 What do you see for the future of classical music?
56:02 Wrapping Up