An omnipresent fixture of his childhood and the centre of social activity in his family home, it's little wonder the piano would become a cornerstone of Kyle Mooney's career path. His mother a pianist, singer and music teacher, it seems the seeds were sown for a career in music long before Kyle's entry into the world on November 14, 1983.
More than a mere hobby, the piano become Kyle's preferred source of entertainment and the main target of his restless curiosity from early childhood onward. After a half-decade stint under the tutelage of pianists Thomas Yee and Sister Katherine Bellamy, Kyle began to reject the rigid conventions of formal music education, which he sensed were in fact stifling his musical creativity. He withdrew from piano lessons at age ten, enrolling instead in a one-on-one intensive with his mother's 66-key Casio keyboard.
It would prove his most seminal learning tool, for it was on that keyboard that Kyle would cultivate his keen gifts for detecting notes by ear. By first pinpointing the bass notes of his favourite R&B and Hip Hop songs, Kyle quickly learned the chords of the G minor and C scales. His unconventional learning process also resulted in a highly unique playing style - rhythm with the left hand, melody with the right - which he still counts among his most valuable skills.
With sustained practice, Kyle's repertoire would grow to include crowd-pleasing Rock and Folk tunes, and by age nineteen, he would land his first paid gig at Bianca's Cigar Bar, a high-end establishment in downtown St. John's. As his musical tastes expanded his repertoire would become more eclectic, allowing Kyle to taylor his sets to more adult-contemporary audiences, such as those at Woodstock Colonial Restaurant and Gallery Shoes where he enjoyed regular engagements as piano entertainer.
Over the years, Kyle would expand his musical breadth, lending his talents to Soul, Funk and Bossa Nova bands and providing accompaniment to Jazz and Blues singers. By then capable of transposing keys on command - an indispensable skill for any accompanist - Kyle would harness this rare ability to adapt his favourite songs to suit his own singing voice.
Currently enjoying regular performances as a solo pianist-singer, Kyle spends the bulk of his time adding to his ever-growing repertoire, which now spans R&B, Jazz, Blues, Rock, Folk, Country, Funk and Hip Hop. His highly diverse musical tastes respond to the melancholy of Billie Holiday as they do the zapped-out rage of Stone Temple Pilots and Radiohead or the synth-laden funk of Stevie Wonder. A devout fan of Soul music since early childhood, Kyle's life experiences and insatiable musical curiosity have allowed him to find the soul in virtually every musical genre. These days, the finger picking of George Benson or the twangy balladry of Patsy Cline move him as deeply as the introspective arias of his musical mentor, Nina Simone.
Opposed as he may be to conventional methods of music education, years of playing with fellow musicians have prevented Kyle from remaining oblivious to music theory terms. Although he recognizes its usefulness for collaborative purposes, Kyle will always consider music nomenclature an arbitrary way of describing something he innately understands. His relationship with the piano is highly personal and almost impossible to teach. Much more than a musical instrument, the piano will always remain Kyle Mooney's primary avenue of self-expression, an 88-piece puzzle he has devoted his life to assembling.
the sustained 6ths in Toni Braxton's I Don't Want To, and major 7ths in Mary J. Blige's Everything.