The Three Navajo Preludes for piano, by Connor Chee. Suitable for intermediate level students.
Prelude #1 – Digital Download
Prelude #2 – Digital Download
Prelude #3 – Digital Download
The Navajo composer Connor Chee and his Three Navajo Preludes are the subject of this week’s episode. Blending traditional Diné (Navajo) melodies with the expressive language of the Western piano, Chee’s music bridges cultures and traditions — transforming ancient chants into thoughtful, modern piano works.
We’ll reflect on how Chee’s use of the perfect fourth, his chant-like phrasing, and his spiritual symbolism connect listeners to the natural world — between earth and sky.
— Transcript —
I get a lot of announcements about new music releases in my inbox and on social media. You probably do too. Recently, I’ve been seeing a new release from Alfred Music that keeps popping up.
It’s a collection called Sand Paintings by pianist and composer Connor Chee. Now, the title alone intrigued me. And when I learned that Connor Chee is of Native American ancestry, specifically Navajo, or as they refer to themselves as Dene, and that his works tend to blend Native American musical traditions with Western classical elements, it really piqued my interest.
Unfortunately, that collection I was looking for, Sand Paintings, isn’t yet available as a digital download. I mean, come on, Alfred. I know that a lot of people really still enjoy having that printed, bound copy of the music in front of them, but some of us have gone totally digital with our sheet music, and at least it’s nice to have both options available.
So, as I wait for my physical copy to arrive the old-fashioned way, I decided to explore some of what else Connor Chee has available out there, some of his earlier works. And what I’ve found is what I’ve lined up to play for you today, his Three Navajo Preludes. They’re from his album entitled The Navajo Piano, which came out in 2014.And while a good deal of Mr. Chee’s output is for performers at an advanced level, these three pieces are quite doable by students at the intermediate level. Three Navajo Piano Preludes straight ahead on this edition of the Piano Pedagogy Playlist.
Now, I want to tell you a little bit about Connor Chee and his approach to composing, but let’s hear some music before we get into that. His first Navajo Prelude begins with quiet, open harmonies, built largely on the interval of a fourth. Now, the number four is sacred to the Dene people, and the use of these harmonic and melodic fourths, it seems to echo both the Navajo melodies which inspired the piece, as well as the expansive landscape of the American Southwest, where the composer grew up.
I find that first prelude to be very meditative, very sparse and simple, and I really do get the sense that it is drawing from something ancient, but speaking through contemporary musical structures, using a contemporary musical instrument. Connor Chee, as I mentioned, is of the Diné people, commonly referred to as Navajo. He was raised in Arizona, and like many of the composers I featured on the podcast, he’s equally at home in both the classical and contemporary worlds.
He attended the Eastman School of Music, later earned his master’s degree from the University of Cincinnati College Conservatory of Music. As a performer, he’s played at venues ranging from local community centers on the Navajo Nation all the way to Carnegie Hall in New York City. And while the Three Preludes we’re exploring today come from a rather early time in his compositional life, they already showcase his distinct musical style.
It’s a melding of melodies and rhythmic figures taken from traditional chants and ritual songs, combined with pianistic elements from the Western European classical tradition. The second prelude that I will now play is a little more rhythmic, a little more urgent, but still very gentle. And you’ll hear that all three of these preludes have a similar structure.
First, the main melody is presented very simply in unison. Then comes a brief middle section with some slightly contrasting material that feels a little bit like the development section in a sonatina, maybe. Finally, the original melody returns, but this time harmonized and with fuller textures.
There’s a wonderful moment in the middle section of that piece where in the midst of all of those open and hollow sounding perfect fourths, we land gently on a major third. And it’s, I don’t wanna say startling, but it’s almost kind of surprising. Surprising in the same way that a composer might otherwise normally use a dissonance.
But here it’s actually one of the most consonant intervals, a major third, which stands out because of what our ear has grown accustomed to hearing leading up to it.
Now, the last of the Three Preludes returns to a more reflective style. The middle section explores the upper registers of the piano in a way that allows the open harmonies to really shimmer.
There’s a very grounded feel to the piece, nothing is done for show. You can imagine it being very connected to the natural world and to ancient traditions.
I often have discussions with my students about the role of music in various cultures and through various points in history. In our day, we seem to have arrived at a point where music, for most people, is something to listen to, something to consume, not participate in. And this wasn’t the case for a lot of human history, nor is it today in certain places in the world.
As much as we want to prepare our students to do well on the next recital or score well on the next exam, and don’t get me wrong, those are worthwhile endeavors. But I can’t help feeling that it’s really their involvement in the creative process, being not just a spectator, but a participant in the creation of music that will go on to make the bigger difference in the people they become. A balance is necessary so that we don’t become too focused on the final outcomes that we miss out on the experience of getting to that point. And frankly, that probably applies to all of life and not just music.
The pieces that I played today, for me, are pieces written for the performer. They are certainly lovely to listen to, but there’s no attempt by the composer to demonstrate all of their compositional tricks, nor are there opportunities for the pianist to show off blazing technique or even exceptional musicality.
They’re just meant to be played even if no one is listening. But when we play these pieces alone, just for ourselves, it can be healing, healing in a way that I bet we’ve all experienced while sitting at the piano. Alone, just making music for ourselves.
I hope you enjoyed these Three Navajo Preludes by Connor Chee. All drawing on traditional Navajo songs and chants reimagined through the language of the piano. It’s a great reminder that the instrument we teach and love can be a vessel for the stories and traditions for many different peoples and cultures.
If you’d like to learn more about Connor Chee or explore his music for yourself, I’ll have links in the episode description, or you can visit pianopedagogyplaylist.com and search for episode 13. All Three Preludes are available for immediate digital download. And just like that, it’s time to close the lid on today’s episode of the podcast.
As we move through our week, let’s try to remember that on all of our musical journeys, the getting there should be at least half of the fun. I’ll look forward to seeing you again next Monday when I’ll play some more of my current favorites from the contemporary piano teacher’s repertoire, written by living composers. Until then, keep nurturing the music, and have a great week.
Leave a Reply