Celebrating Heritage: an interview with pianist and composer Connor Chee
Pianist and composer Connor Chee made his Carnegie Hall debut at the age of 12 after winning a gold medal in the World Piano Competition and is a graduate of both the Eastman School of Music and the University of Cincinnati College— Conservatory of Music. With that pedigree, he appeared destined to build a career as an interpreter of standard classical repertoire. Yet, over the years, the richness of his Diné (Navajo) heritage gave birth to a whole new career direction—one that opens a window into Diné culture and introduces all music lovers to the richness of a people who have been making music since the dawn of time.
Connor Chee came to my attention through the suggestion of pianist and guest writer Laura Dean. I was captured by how deftly he blended western classical piano music with the rich cultural heritage of the Navajo people and am honored that he agreed to be interviewed for No Dead Guys. Through his words and his music, he offers a glimpse of the stories behind the notes. And through his contemporary piano music, he shares his passion for the stories, the heritage, and the beauty of Navajo culture with others in a language accessible to us all.
I understand that you began piano lessons when you were 6 and that at age 10, your family relocated to Cincinnati, Ohio so you could attend the School for Creative and Performing Arts. What first drew you to the piano and to what do you attribute your rapid progress on the instrument?
When I was little (4/5) my mom had these compilation cassette tapes of classical music that she'd play around the house. When I was 5 my dad got a mini keyboard as a gift, and he let me play with it. I started teaching myself by ear, just playing along with the pieces I heard on those tapes. My curiosity kept me going, I was always eager to learn more and figure out new pieces. Having a supportive family and great teachers along the way really helped push me forward too.
When did you begin composing music and what was your first composition?
I started composing my own short pieces when I was about 6 years old. I couldn't read music yet, so my elementary music teacher helped me write them down. It was a fun way to get started with creating my own music, even though I was just figuring things out by ear at that point.
In addition to earning a Bachelor of Music from Eastman and a Master’s degree from the University of Cincinnati College—Conservatory of Music, you’ve won multiple international piano competitions as a classical pianist. When did you begin to explore the intersection of your Diné (Navajo) heritage and your classical music training?
After I finished my master’s degree, I wasn’t really planning on becoming a composer—I was mostly focused on performing at the time. What shifted things for me was wanting to find a way to preserve some of the traditional songs my grandfather used to sing. I started by transcribing those songs, and that process naturally led me to start composing my own music based on my heritage. It wasn’t something I set out to do initially, but it became a way for me to blend my classical training with my Diné roots.
Congratulations on winning Best Instrumental Recording at the 16th Annual Native American Music Awards for your recording, The Navajo Piano, which includes piano transcriptions of Diné music. How challenging was it to keep the original feel of this music on the piano?
Thank you! Honestly, I don’t necessarily think the piano transcriptions have the same feel as the original chants and songs. My compositions are new and different from the originals. What I aimed to do was stay true to the spirit of the songs—their melodic and rhythmic qualities, as well as their intention. It’s less about replicating the exact feel and more about honoring the essence of the music in a new context.
One of your most recent most recent releases,Scenes from Dinétah, which features piano pieces written about elements of Diné life and culture, is enhanced by several beautiful music videos filmed on the reservation. How did you and Diné filmmaker Michael Etcitty Jr. connect with each other and what inspired you two to collaborate on this project?
Michael and I met as kids—we both took piano lessons from the same teacher. We reconnected later as adults, and during the pandemic, we ended up quarantined together. That’s when we started talking about the idea of filming music videos for Scenes from Dinétah. Being on the reservation during that time, surrounded by the landscape, really sparked the idea to create visuals that would complement the music and highlight elements of Navajo life and culture. It just felt like the perfect opportunity to collaborate, and I’m glad we were able to bring the project to life together.
My favorite of all your beautiful recordings is Across the Desert: The Long Walk Home. Tell me a bit about your choice to follow each piano solo with an orchestral arrangement of the same piece?
Thank you, I’m happy you enjoyed Across the Desert: The Long Walk Home! I really wanted to do something outside of my solo piano music. I wanted to include some of the songs from the Long Walk that had been passed down through generations, keeping their original melodies and lyrics. In the end, I recreated these intergenerational songs in my own compositional style, blending tradition with something new. It was a way to honor those songs while giving them a fresh voice.
Two of my favorite tracks on Across the Desert: The Long Walk Home are “Dawn of Displacement,” and “Footprints in the Sand” both of which feature the evocative voice of Tex Chee. What can you tell me about your inspiration for including his words on these tracks?
Tex Chee is my dad, and he’s been a big source of cultural information for me when I’m composing. We worked together to come up with the lyrics for “Dawn of Displacement” and “Footprints in the Sand.” It felt only natural that he would be the one to speak them. Including family in this project was really important to me, and having his voice on those tracks added a personal connection to the music that I think really enhances the storytelling.
What do you feel is lost by playing traditional Navajo music on the piano and what is gained?
When traditional Navajo music is played on the piano, I think what’s lost is some of the natural flexibility and vocal quality that comes with how these songs are traditionally performed. Navajo songs often have a rhythmic freedom and a unique vocal expression that’s hard to fully capture on a fixed-pitch instrument like the piano. The chants and the way the words are sung just don’t translate the same way.
But on the flip side, what’s gained is the opportunity to present these songs in a new light and reach a different audience. The piano allows me to layer harmonies and explore different textures that aren’t part of the traditional style, but can enhance the emotional impact of the music in a way that’s accessible to more people. So, while the music may change, I try to stay true to the spirit and intention behind the songs, and that’s where the real connection happens.
Do you feel it’s important for musicians to explore their heritage through their music? Why (or why not)?
I think it can be important for musicians to explore their heritage through their music, but I wouldn’t say it’s something every musician has to do. For me, it’s been a natural way to connect with where I come from and share those stories with a wider audience. Music is such a powerful way to express identity, culture, and history, and it’s a way to keep traditions alive while also evolving them.
That said, I think every musician’s journey is different. Some might feel a strong pull toward their heritage, while others might be inspired by totally different things, and that’s valid too. What matters is that musicians are being authentic to themselves and their own creative voice. For me, exploring my Navajo heritage through my music has deepened my connection to my culture and allowed me to contribute something unique to the classical world. But everyone’s path is their own.
What do you wish people from other ethnicities understood about Diné culture and music?
I want people to understand that Diné culture exists in the modern world—we’re not stuck in the past. We are out here doing all kinds of music, from classical to hip-hop, and we’re living both on the rez and in major cities. Our culture isn’t confined to the biases or stereotypes people often have about us. We’re able to carry our traditions into contemporary spaces in ways that feel right for us, whether that’s through music, art, or everyday life.
Diné culture has always been adaptive and resilient, and I think it’s important for people to see that we’re continuing to evolve while still holding on to what’s meaningful. My music is one way I bring my heritage into the present, but there are so many ways we are doing that across different genres and fields. We’re showing that our culture isn’t limited—it’s alive and continues to grow.
How do you feel those who aren’t Native American can participate in music such as yours without veering into cultural appropriation?
When I’m composing, I’m always mindful to include elements that are appropriate for all audiences and performers. I stay away from anything that’s part of a closed practice or that shouldn’t be shared outside of ceremony. My goal is to create music that’s rooted in my culture but can be shared and appreciated by a wide audience.
For people who aren’t Native, I think the best way to engage with my music—and Indigenous music in general—is to approach it with respect and an openness to learning. Rather than trying to replicate or take ownership of cultural elements, focus on appreciating the stories and significance behind the music. A good way to participate is by supporting Native artists, coming to performances, buying the music, and learning about its deeper context.
At the end of the day, I hope my music can be a tool for others to use in their own journey to learn more about Navajo culture. It’s all about building connections and understanding, while respecting the boundaries that are in place to preserve the integrity of our traditions. When approached that way, music becomes a bridge between cultures rather than a point of appropriation.
In addition to your career as a composer and concert pianist, you also teach piano lessons. How do you encourage your students to pursue their innate creativity within the structure of formal lessons?
I’m not currently teaching private lessons, but I regularly give master classes and teach at music festivals. I always encourage students to come up with several options when interpreting a piece. There isn’t just one right way to play music, and part of the learning process is exploring different possibilities. I like to guide students through self-reflection, helping them understand what they’re doing naturally and why they’re drawn to certain interpretations.
Once they gain that self-awareness, they can apply their instincts more creatively and with intention. It’s about giving them the tools to shape their own interpretations, rather than just following a prescribed path. That way, they can find their own voice within the music, which I think is one of the most rewarding parts of being a musician.
What current and future projects are you most excited about?
I’m really excited about a few things right now. One of my recent projects is a set of 16 piano etudes that just premiered, and I’m looking forward to sharing more about those in the future. Each etude is inspired by different aspects of Diné culture, so it’s been a meaningful project for me to work on.
Looking ahead, I’m always thinking about new ways to blend my classical training with my Navajo heritage, whether that’s through new compositions or collaborations. I’d love to keep exploring the intersection of music and visual storytelling. Plus, I’m always open to performing and giving presentations, so there’s plenty to keep me busy.
What advice can you offer musicians who seek to pursue careers in music?
My advice is to stay true to your own voice. Don’t get caught up in what others expect—focus on what drives you and what you want to express. Be patient, as success takes time and persistence. Build strong relationships, stay curious, and keep learning. Don’t be afraid to take risks and explore different paths. The music world is always evolving, so stay open to opportunities and keep pushing forward, even when it’s tough.
Connor Chee (b. 1987) is a Diné (Navajo) composer and pianist known for blending Western classical music with the rich cultural heritage of the Navajo people. His compositions often draw inspiration from traditional Navajo stories and beliefs, creating a powerful and evocative sound that speaks to both his heritage and his classical training. Connor is dedicated to music education and cultural preservation, inspiring the next generation of musicians.
Chee made his Carnegie Hall debut at the age of 12 after winning a gold medal in the World Piano Competition and is a graduate of both the Eastman School of Music and the University of Cincinnati’s College-Conservatory of Music. Chee’s work has earned him national acclaim, including performances on NPR’s Performance Today and a commission from YourClassical MPR for his tribute to the Navajo Code Talkers, Unbroken.
Chee has released five studio albums, and a popular collection of Music Videos available on YouTube. His latest album, Across the Desert: The Long Walk Home, honors the resilience of the Navajo people and the journey back to their ancestral lands.