Classical Guitar Phenom Jiji and Her Polystylistic Adventures

Jiji plops to the flooring the minute she sees there are felines. Enabling them to approach at their own rate, she makes their instant approval. She is swarmed with purrs and fluffiness as we being in my house, speaking about music, matcha, and the Steven Mackey guitar concerto that we are both set up to carry out– Jiji with the Curtis Symphony Orchestra in March, and I with the Utah Symphony in April. I hand her the Kenny Hill classical that I presently have on loan. I have actually been passing away to hear what a distinctive instrument seems like in the hands of a distinctive artist. A couple of expressions, and the charm of the tone, fluency, and effortlessness revealed in a simple handful of notes overwhelms any melancholy I may feel that I do not seem like that at all

Jiji’s playing advises me that virtue and virtuoso share a typical Latin derivation. In guitar circles, the term virtuosity might bring implicit associations with extravagant display screens of technical expertise, unneeded speed, and ego-driven musical one-upmanship, Jiji applies her center towards the greatest creative function: permitting music to be experienced in its max capacity. Whether she is breathing fresh life into staples of the collection or presenting brand-new pieces, her level of sensitivity enables the music to flower in her hands.

Jiji started studying classical guitar as a kid in Seoul, South Korea, and eventually continued her education in the U.S., making degrees from the Curtis Institute of Music and Yale School of Music. Her interests extend beyond the classical guitar, as the 31-year-old artist welcomes the spectrum of music, with dignity browsing and incorporating worlds that appear at chances with each other. She carries out concertos as a musician with orchestras throughout the nation, while listening to metalcore in the dressing space; shapes transcendent noises with distortion and flangers on her Fender Stratocaster; is refining her two-handed tapping strategy in preparation for the Mackey concerto– the majority of which is on electrical guitar; and points out affects as varied as pop, rock, and doom metal.

As both an author and a supporter for her contemporaries, Jiji has actually premiered a range of brand-new works by contemporary artists throughout categories– 3 significant concertos in simply the previous couple of years by authors Natalie Dietterich (light, precious2018), Hilary Purrington (Harp of Nerves2019), and Krists Auznieks (Apvārsnis Kamolā2021). Jiji is a hectic entertainer in addition to an enthusiastic teacher, presently an associate teacher of guitar at Indiana University Jacob’s School of Music. Her approaching album, Unboundset for release this year, is a collection of commissioned structures.

Here, Jiji reviews her varied impacts, shares practice strategies, and sneak peeks some approaching tasks.

When and why did you initially get the guitar? Who were your instructors and coaches?

I began playing guitar when I was 8; I in fact wished to play the electrical guitar. My moms and dads purchased DVDs of excellent artists for me to enjoy, consisting of Eric Clapton, Deep Purple, Santana, the Assad household, and more. I requested an electrical guitar, and they stated they would get me one after a year of classical guitar knowing. They never ever purchased me that electrical guitar[[chuckles]My very first instructor, Cho-in, truly assisted me fall for the guitar. It was exceptionally valuable in my early years of playing.

Jason Vieauxa Grammy-winning artist, was the factor I relocated to the United States. He taught me a lot, and I am exceptionally grateful. Teacher Benjamin Verdery at Yale University likewise played a substantial function in assisting me discover my own voice. I am still in touch with them; they are my coaches to this day.

The worlds of classical and electrical guitar are frequently rather different. How do the 2 interact and overlap for you?

There was constantly this yearning to play to play the electrical guitar, so I constantly had that world near to me. I have much gratitude for both worlds; I understand they are extremely various, however I like music in all its types. The noise of the electrical guitar and all the impacts influence me a lot as an author. I am constantly taking a look at the plug-ins and the pedals that other artists are utilizing and how they utilize them to produce cool noises. This track I taped [“Touch Him When (Heavy)”] was influenced by [drone metal band] Sunn O))) and Robert Fripp. Polystylism is so cool.

You have a fascinating story about transferring to the U.S.

I transferred to Cleveland to study with Jason Vieaux at the Cleveland Institute of Music. I could not live in the dormitories since I was too young, around 15. Since my moms and dads could not move to Cleveland, I had to get a legal guardian. I wound up discovering one through Craigslist. In hindsight, that was not the very best method to go, however all of it exercised.

Have you handled challenges or obstacles, and how did you browse them?

Relocating to the U.S., finding out a brand-new language, and experiencing cultural shock showed to be rather tough. Attempting to survive on my own for the very first time in a brand-new nation was extremely tough. Browsing all of it was rather a task. I needed to go through it; I didn’t battle it much. I believe all these difficulties made me a much better individual. Someone informed me development is an agonizing procedure.

Throughout my 2nd year of the master’s degree program, I came across a left-hand wrist injury. I wasn’t looking after my body and practiced through the discomfort, a choice I now understand was incorrect. With a huge competitors on the horizon, I practiced through all of it. The injury still impacts me to this day if I press myself excessive. I am now exceptionally careful, listening to any discomfort signals and taking much shorter practice sections. It’s essential to keep in mind that practicing must not look like the motion picture Whiplash— that’s not a healthy technique for anybody.

Discuss your practice regular and how it has actually developed. How do you presently divide and prioritize your time?

I figure out the left- and right-hand fingerings. I do not begin practicing till I have actually figured this out. I prepare out my top priority group practice. Group An includes jobs that need the most time, like finding out brand-new pieces or anything that’s brand-new. Group B is for refining pieces that are 60 to 80 percent done. Group C is committed to chamber music, sight-reading/technical exercises, and going through pieces.

On an excellent day, I go for 3 to 4 hours of practice, and I do not play anything beyond that. I assign 50 percent of my time to Group A, 35 percent to Group B, and 15 percent to Group C. Recognizing that you can’t end up whatever in one day, constant practice is the crucial to success.

You showed me a strategy for getting challenging passages up to speed. Would you explain it?

It’s called bracket practice. JV [Jason Vieaux] taught me this– I can’t take credit for it. Let’s state you have a 16th-note passage for 2 bars in typical time. I’ll play the very first 3 notes near to pace, possibly a couple of clicks under. You intend to play them completely 7 times in a row, with 2 to 3 seconds in between the groupings, not like a constant loop. You include one more note, and so on, duplicating the procedure. If you slip up, you begin over the 7 countdown [back to one]When you feel comfy, you then begin in the middle of the passage, like the 6th or seventh note. The secret is that you play specific left- and right-hand fingerings and after that you begin a brand-new bracket, duplicating the procedure.

What are a few of your methods for preparing tough music?

Attempting not to panic, start by checking out through the piece. Recognize the most difficult parts and follow these actions: 1) Work on fingerings; 2) execute bracket practice; and 3) fine-tune every day. Do not anticipate to play completely in one day. Perseverance is vital, and do not hesitate to include a couple of laughs and possibly some swearing throughout a session[[chuckles]

You draw from a broad range of designs and affects. Discuss a few of the most crucial ones and how they have actually formed you.

Popular song, electronica, and doom metal truly motivate me as an author. When I’m not carrying out, I compose music that is affected by that sound world. Composing music has actually contributed in my development as an artist, and I discover it extremely valuable. DJing was a method for me to find cool brand-new music and check out. I have not done it in a while, I truly desire to get back into it.

The Steven Mackey concerto you’re dipping into the Curtis Institute is a monster of a piece. What are the most significant difficulties it provides, and how are you preparing?

The greatest difficulties were the brand-new technical elements of the piece. Being mainly a classical guitar player, tapping and looping were actually foreign to me. It’s really, really various from what I’ve ever done. I’m simply taking it day by day, practicing, and getting fantastic mentor from you, Gretchen! I like the obstacle and finding out brand-new strategies.

You have actually done some terrific partnerships with your hubby, Gulli Björnsson.

The Seattle Symphony has actually commissioned a brand-new piece by my other half, who is developing an audio-visual piece for me at their unbelievable place, Octave 9. This is set for May 2025. I feel blessed to deal with him; he’s genuinely among my preferred authors. We carry out together and develop unusual, enjoyable music, checking out locations like virtual truth and digital art music.

What have been some profession highlights up until now? Anything you’re wishing to perform in the future?

Getting an associate teacher position at Jacobs School of Music, a function I love together with my coworkers Petar Jankovic and Daniel Duarte; winning Concert Artists Guild Competition’s very first reward in 2016 (I can’t think that was 8 years earlier!); and signing with Kirshbaum Associates management are my highlights.

Creatively, I have actually premiered over 20 solo guitar pieces and 3 guitar concertos, which has actually constantly been my dream: to be dealing with living authors and premiering brand-new works. I am very delighted for my partnership with R&B vocalist Daniel Fears, supported by the Austin Guitar Society, an absolutely brand-new experience for me. Furthermore, I have a brand-new solo guitar piece composed by among my preferred authors in the entire large world, David Lang, a Pulitzer winner, arranged for April.

Looking ahead, I am thrilled about the possibility of continuing cooperations, be they classical or otherwise. While I confess that I do not have whatever found out, and I am not completely sure about my future strategies, I am constantly down to check out the unidentified and figure things out as I go.

What She Plays

Jiji plays a 2009 Gernot Wagner spruce double-top guitar (650mm) geared up with a Kremona piezo pickup, and chooses typical stress D’Addario Pro-Arté strings. In location of a standard footstool, she utilizes a GuitarLift guitar assistance. — GM