There’s a fairly far-reaching stereotype that classically trained pianists can’t improvise, play jazz, or handle anything “off the page.” I’ve even had people assume this about me — as if classical training somehow locks you into a rigid box. In reality, it’s the opposite: classical training equips you with the tools to approach any style with confidence, and the kind of freedom that only comes from ingrained musical patterns.

Classical as a Foundation:

When you train classically, you build:

• Technique: finger strength, independence, speed, control.
• Theory knowledge: scales, harmony, phrasing, structure, fluency across all keys.
• Musicality: dynamics, shaping, tone, understanding of how melodies relate to song and speech.
• Aural development (the kind of ear training used within classical training helps develop the listening skills and ability to play by ear which is important for improvisation within many styles).

That combination means you’re not just learning “pieces” — you’re learning the language of music. With that foundation, stepping into blues, jazz, pop, ambient music or film music is a natural extension, not a barrier. It’s just a different dialect or vocabulary within a language you already know.

Why the Stereotype Exists:

It’s true that some classically trained pianists never explore improvisation — but that’s not because they can’t. It’s because they haven’t been encouraged to, and also it is very common for classical musicians to suffer from perfectionism. Improvisation can feel a bit of a risk, because technically there is no right or wrong. But improvisation used to be a huge part of so many of the great composers’ skillsets. In Bach’s time, improvisation was expected (a lot of traditional Baroque ornamentation is based on improvisation conventions of the time), and Bach himself was known to be a great improviser. Mozart dazzled audiences with his ability to spin out variations on the spot. Even Liszt and Chopin were known for improvising in performance. Czerny (best known for his studies) was a skilled improviser too, particularly in the art of variation.

Classical vs “just learning pop”:

There’s also a misconception that learning pop or blues alone is enough. While it can be so much fun, and motivating, it doesn’t give you the same breadth of technique or theory. Without that foundation, you’re often limited to the patterns you’ve memorised. You can end up just knowing how to play one song, and not really knowing how to approach learning the next one independently. With classical training, by contrast, you can choose to play pop, blues, or jazz, and all your technique and understanding will significantly enhance this. Of course, some people prefer to stay within pop/jazz and there is nothing wrong with that (and if any of my students strongly feel they want to focus on one style, I am happy to work with that – style preferences are valid and personal); my point is that classical training doesn’t prevent, it enables.

My Own Journey:

Over the past several months, I’ve shared a lot of my improvisations. They’re built on my classical foundation (and teenage years of jazz/blues and modal explorations) — the left-hand shuffles and arpeggiated figures, the right-hand flourishes, the way I stretch and develop harmony — all of that is grounded in years of study and ingrained patterns. I’ve always composed, improvised and played across many styles (classical, blues, jazz, pop, folk etc). For decades within my compositions I’ve explored modal sound worlds, pentatonic melodies, dominant 7th harmonies, and jazz colours, long before I shared anything publicly. Those threads run straight into my present-day contemporary style improvisations. For a lot of musicians this sort of dialogue between classical training and improvisation can make the music feel even more alive.

Takeaway:

So the next time you hear someone say “classical pianists can’t improvise,” know that it’s a stereotype, not a reality. Classical training is the gateway to freedom at the piano — not a restriction.

If you’d like a gentle starting point for building your technique across all keys, I’ve just published a new downloadable resource: Czerny Op.599 No.3 in all 12 major keys. Czerny was not only a great teacher but also a skilled improviser — and his studies are still some of the best tools for developing versatility at the keyboard. He really knew what he was doing.

Much of what I explore through writing and improvisation informs how I teach — with close attention to sound, structure, and detail. In my video exchange lessons, that translates into personalised feedback for students around the world.