An Interview with Jacki Alexander

Jacki Alexander is an Indianapolis-area pianist, composer, and arranger based in McCordsville, Indiana. Classically trained under Ruth Denning, she spent a 21-year career teaching piano before retiring to write full time, and has been composing and arranging for over eleven years. She’s newly published with Alfred Music as one of its Signature Solo artists, with her first Alfred-published intermediate solo, Aqua.

Q: How did you first discover your passion for composing?

I loved beautiful contemporary and lyrical solo piano, and after playing for so many years and listening to music I loved, I wanted to try my hand at it. I made it a New Year’s resolution in 2015 to write an original piano solo, and on spring break that year, when my teaching studio was closed, I wrote my first piece!

Q: Who has shaped how you think about music?

My grandmother, who also composed and taught piano, the great classical composers throughout the ages, and modern-day performing pianists. That’s just the foundation — I really enjoy listening to and watching live, local music, and Indianapolis has a wonderful music scene. I love all genres.

Q: What was the first piece you wrote that made you think, “I might actually be onto something here”?

My actual first piece, entitled “Celtic Reflection.” As a pianist, I knew it was good but needed validation. I sent it to several composer friends I had met in piano and music groups, and they verified that it was, indeed, good.

Q: What’s the hardest creative problem you’ve ever had to solve in your work?

I don’t relish modulation. I love it — going from one key to another effortlessly — but to me it is not effortless to write a good modulation to another key.

Q: How has your compositional voice changed over the years? Is there anything you used to believe about writing music that you’ve since changed your mind on?

I used to use a lot of syncopation, so much that people identified my pieces by my signature syncopation. I still use it sometimes, but not nearly as much as I used to. I find that less is more — sprinkled in here and there, it’s more highlighted and appreciated.

Q: Do you have a favorite piece on Alfred.com? What was the spark behind it?

I can’t decide — I love anything late intermediate/advanced by Melody Bober, and I love Dennis Alexander’s work. There is so much to choose from.

Q: If there was a soundtrack for your own life right now, what piece would it be?

It would be a piece I wrote entitled “Transition,” maybe tied with my “Contemplation.” As a widow who has gone through the grief stages and somehow emerged on the other end of it, I did a lot of soul searching and went through some rough patches. “Transition” sums up what I had to learn to do: go from being a couple to myself. Who was I? I think with writing more, and now also writing lyrics to songs, I am finding myself again.

Q: Where are you based, and how does your environment influence your work — or does it?

I live in a suburb of Indianapolis, Indiana, in a town called McCordsville. Indianapolis and the surrounding areas have a vibrant live music scene. We’re known for jazz, and I see GRAMMY®-winning and GRAMMY®-nominated musicians quite often. We have Clowes Memorial Hall on the grounds of Butler University, and the Palladium/Center for the Performing Arts in Carmel, which is nearby. I’ve attended the international piano competition there that Irina Gorin directs and have witnessed such talent come to our community through music.

Q: How do you spend most of your working hours: composing, teaching, performing, or some mix of all three?

I retired from teaching a couple of years ago after a 21-year career. I have composed and arranged music for over 11 years and continue to do so. I have never felt comfortable performing in front of others. Most of my days are spent composing, arranging, and writing song lyrics and poems.

Q: Where did you study, and how much of what you do today traces back to your formal training versus what you figured out on your own?

I was fortunate to study under Ruth Denning in Indianapolis. I am classically trained.

Q: Did you grow up in a musical household, or did music find you some other way?

My grandmother and mother were musically inclined. They are my reason for falling in love with the piano. Of course, growing up, I was exposed to different genres of music and instruments. I am not ashamed to say that I have a very eclectic taste in music.

Q: How long have you been publishing with Alfred, and how did that relationship start?

I am newly published with Alfred as one of their Signature Solo artists! I am very honored to be a part of the Alfred piano offerings with my first Alfred-published intermediate solo, Aqua. I look forward to a continued relationship and to seeing more of my original compositions and arrangements under the Alfred name.

Q: Outside of composing, is there another role in music — educator, clinician, performer — that’s been just as central to who you are?

I enjoyed my years educating both children and adults in the art of playing the piano and music theory. I feel I brought innovation and excitement for the instrument to lessons, as well as an excellent foundation to build upon as their years with me continued. I particularly enjoyed working with beginner students and witnessing their “a-ha!” moment when they finally began to read music. I also thoroughly enjoyed working with seniors who had always wanted to learn to play, and after retirement could dedicate time to their studies and fulfill their wish to play the piano.

Q: How has the music education publishing world changed since you started, and how has that shaped what you write?

When I started composing, I was self-published for a few months before being picked up by a small, independent publisher. At the time, and for several more years, I sold individual original pieces. As the years went on, customers were more into purchasing collections, or songbooks. I have several multi-level songbooks but still enjoy publishing single pieces of sheet music. I also began to see the need for more authentic-to-recording arrangements of popular music. I still enjoy arranging popular pieces in the solo contemporary piano format — pieces that I would enjoy playing
myself.

Q: What’s a type of piece or repertoire gap you think the industry still hasn’t figured out yet?

Most offerings of rock music, or even some pop music, just don’t sound true-to-form to me. I think it’s difficult to capture or replicate some of today’s music for the piano.

Q: What do you want your body of work to add up to — is there a throughline you’re consciously building toward?

For my music to resonate with others and make them feel joy when they play it; ease of playing with a larger-sounding result; and to stay relevant in the ever-changing styles of music. That, and of course pedagogical skillsets built into each piece, so that it may also be considered a teaching piece.

Q: Is there a favorite piece of yours that may not be your most popular work but resonates really strongly with you?

“As Long As I Remember” really resonates with me, as I wrote it shortly after the passing of my husband. I poured my heart and soul into it and was intentional with every note. It’s really pretty and bittersweet. It does sell, but no one will resonate with it as I do.

Browse Jacki’s titles on Alfred Music and bring something meaningful to your own playing.

👉 Shop Aqua on Alfred Music