In a jazz ensemble, each player is simultaneously a soloist and a team player
In the Sibelius Academy jazz programme, students make music with and learn from different artistic voices in the field. Graduating students Tuomas Talvi and Juho Valjakka share their journey from the application process to their study years as well as creative plans for the future.
How did you end up studying at the Sibelius Academy of Uniarts Helsinki?
Tuomas: For me, the choice was easy in that I knew I wanted to study jazz music deeply and intensively, and I felt that the Sibelius Academy was the best place to do that. Siba Jazz is the only university-level programme in Finland where you can specialise in the performance and artistic content of jazz music.
Juho: I wanted to study and play jazz music within the realm of rhythm music, and Siba was clearly the best choice for me.
What do you remember about the application process and entrance exams?
Tuomas: I was fortunate to get in on my first try, and there’s a funny story about it. I had broken my collarbone that spring and doubted I could practice enough to get in. However, the injury had a psychological effect, where my relaxed attitude allowed me to stay calm during the entrance exam. Perhaps I enjoyed the music-making situation more genuinely, thinking I was playing music with nice people rather than trying to get into a school.
Overall, I remember that the purpose of the entrance exam isn’t to showcase a solo performance but to demonstrate your ability to communicate and other essential elements of jazz music. Even though the situation is very tense, the focus is on the joy of making and sharing music.
Juho: I got into the jazz music department on my second try. The first application attempt was very beneficial, as I got to see the entrance exam and received valuable feedback on my playing. In the following year, I already had an idea of the atmosphere and knew who would be there. The feedback gave me a good basis for my practice for the second try, and I was able to show that I had done my homework during the entrance exams.
What does studying jazz music entail?
Juho: The studies cover comprehensively both phenomena related to jazz music and essential areas for learning, forming a functional whole. In addition to the technical skills of your instrument, important components include rhythm, solfa, harmony and repertoire courses. This is valuable for building a versatile musicianship.
Tuomas: I think our jazz programme has a healthy emphasis on ensemble playing. Even though we are on the “soloist” path, most of our studies are group work. This relates to the nature of jazz music: in a jazz ensemble, each player is simultaneously a soloist and a team player. Of course, individual instruction is also a significant part of mastering your instrument.
What have been the most memorable courses, concerts or projects during your studies?
Tuomas: The presence of international visitors has been the most memorable for me. Playing with trumpet players like Terell Stafford and Marquis Hill or drummer Kendrick Scott has been extremely educational and valuable. I have also been very excited about some masterclasses. I also give great recognition to the school’s teachers: Through jazz studies, you get to play and talk with the best jazz experts in the country. This is by no means a given.
Juho: I agree with Tuomas. It was a profoundly impactful experience to play with saxophonist Godwin Louis and drummer Jonathan Barber. It left a deep memory and emotional imprint: what wonderful experiences this art form can offer! Even from course evaluations – no matter how stressful they might be – I feel I have gained a lot from the preparatory work and insightful feedback. This has been very valuable for my own development. And even if some feedback contradicts my own vision, it has made me think and thus advanced my own art.
Tuomas: I also find it extremely valuable that the school is not a one-truth institution. Artistic and aesthetic questions tend to be quite multifaceted, and through my studies, I have heard many different artistic voices and opinions from the field. My own artistic growth is found amidst all this diversity.
What has been the most challenging aspect of your studies?
Juho: Intensive studies take up a lot of time. I have had to learn time and life management: you must be able to schedule enough free time in your calendar and invest in your own well-being. Demanding studies combined with my own gigging alongside school is quite a set. However, gigging during studies has been very important for my development as a musician and for transitioning into the professional world.
Tuomas: For me, one of the challenging aspects has been singing from sheet music – I tried the second solfa exam three times before passing the course. It was my personal battle. In general, the school provides the support you need, but they also ensure that everyone meets a certain standard. The courses are also quite long: for example, the rhythm course in the beginning of the studies lasted the entire academic year. The structure of the studies may seem simple, but these are things that need a lot of practice. The studies are challenging and require time, but it pays off!
What preconceptions did you have about the Sibelius Academy before studying here, and what do you think of them now?
Juho: Perhaps I had some light stylistic preconceptions, the origin of which I am not entirely sure about in retrospect. I had a feeling that here we mainly play bebop. And of course, we do – and that’s good – but there’s much more to it.
Tuomas: The artistic diversity of the programme breaks all preconceptions. You can notice this just by listening to the rich music that people here create.
Juho: In general, the artists, teachers and visitors you encounter in the jazz music programme build a very broad perspective on jazz.
What are your plans after graduation?
Juho: I definitely want to continue my music study process independently. I want to refine the skills acquired during my studies and delve even deeper into my artistry. Continuing education might interest me at some point, but now I need time for my own art-making.
Tuomas: It is very motivating to be able to do things artistically on my own schedule and independently. The education has given me good resources to function as a musician and to continue independently.
What tips would you give to those applying to the Sibelius Academy?
Tuomas: Anything that cultivates your personal relationship with music is beneficial. Gigs, fandom, playing together with friends… A positive relationship with music always shows in your own work. The history of jazz music and the specific demands of the genre can be overwhelming, but if you turn your own process and music-making into enjoying music, the demands become positive challenges.
Juho: Regarding jazz music, I have found it important to develop a personal love for its musical characteristics. The language of improvisation, rhythm and interaction inherent in jazz is found, in my view, through a personal musical connection. Over time, you want to actively engage and practice these aspects. Supporting this process, you should attend gigs and play with other people. You can also reach out to Siba students or teachers if you have questions or want to have a playing session.
Tuomas: The jazz musicians’ community welcomes everyone. If you have a genuine interest in the art form and find jazz cool, the doors are open!