What: Pianist Arthur Migliazza

When: 6:30 p.m. Friday, 6 p.m. doors

Where: Sunriver Resort Homestead, 17600 Center Drive

Cost: $43 ($38 for Sunriver Music Festival members); $10 youth 18 and under

Contact: sunrivermusic.org or 541-593-1084

Pianist Arthur Migliazza possesses a formidable left hand. He is by no means a natural lefty, but he works hard to develop and maintain its dexterity. Piano blues and boogie-woogie call for a strong left hand: The 38-year-old Migliazza developed his left mitt through decades of playing blues and boogie-woogie, and a self-imposed ambidexterity.

“I am right-handed, but over time, because of the piano, for sure — and an emphasis on my left hand from boogie-woogie — my left hand has become strong,” he said. “I do things now to practice with my left hand … I’ll brush my teeth with my left hand, or eat holding my fork with my left hand. Little daily things like that, or turn the key with my left hand, just to use it … because everything adds up,” he said.

On Friday, you can hear the fruit of his southpaw labors when the New York-based pianist visits Sunriver for a well-rounded program including seasonal, blues and boogie-woogie tunes — with some between-song history. Sunriver Music Festival is presenting the concert as part of its Fireside Series, which take place September through March.

“They’ve asked me to do a few Christmas songs, so I’m going to work that into the mix, but the rest of the concert will be me telling the story of blues and boogie-woogie piano and how it originated and how it influenced American pop music,” Migliazza said. “It’s kind of a historical musical journey.”

His personal journey on the piano began with his first lessons at 9.

“It was kids’ piano lessons — it wasn’t anything serious,” he said. “She was a really cool teacher. She introduced all her students to various kinds of music, and one of the kinds of music she exposed her students to was boogie-woogie and blues piano.”

Blues music needs little introduction, but less often heard is boogie-woogie, a good-time brand of dance music popularized 90 years or so ago that also served as an antecedent to rock ‘n’ roll. In a 2017 op-ed in honor of Fats Domino for The New York Times, “The Late Show With Stephen Colbert” band director Jon Batiste wrote of the jazz and rock pioneer’s ability to bridge forms. In reference to boogie-woogie, Batiste called it “basically brothel music.”

“I really took to it,” Migliazza said. “Just something about the mechanics of playing it really made sense to me on the piano — you know how the left hand is doing repeating bass figure. That becomes kind of your blank canvas, and on top of that, you paint all the pictures with your right hand, doing chords and riffs and melodies.

“That kind of approach to the instrument really felt good, and it clicked with me really quickly. I started listening to boogie-woogie and blues, and the sound of those old recordings, and the emotion and the feeling of that music really resonated with me.”

He laughed at the memory: Himself at 9, 10 years old listening to pioneer musicians.

“Nobody else was listening to that,” he said — at least not his peers, who were more into LL Cool J, Beastie Boys and Vanilla Ice.

“I listened to all that stuff, too, but the blues was always in the mix, too,” Migliazza said. “But even though none of my friends listened to it, knew about it or necessarily wanted to listen to it after they heard me listen to it, I always had it on, whether I was doing homework or playing with my G.I. Joe’s. It was always Otis Spann in the background, or Jimmy Yancey, or Ray Charles, any of these older guys. I didn’t need anybody else’s approval, I guess. I just really loved it.”

Migliazza was born in Washington, D.C., where he lived until his family moved to Tucson, Arizona. The budding pianist was 11, and even more isolated in his tastes.

“I got there, and there was no boogie piano players or teachers, so I had to kind of listen to it on my own and stuff,” he said. But his supportive mother took him to Tucson Blues Society concerts, and relatively quickly, he became involved in the local blues circle — which led to his first professional gig at 13 before a crowd of a few thousand people.

“The Blues Society asked me to play 15 minutes at the Blues Festival in Tucson, right before the headliner,” he said. “They had about 15 minutes between acts, and they brought my keyboard out to the front of the stage, and I played there while they were all setting up behind me.”

The influence of musicians who shared their knowledge with him also led Migliazza to teaching. While he still gives private lessons, he’s also written a book, “How to Play Boogie Woogie Piano,” written with Dave Rubin, and founded an educational website, schoolofboogie.com.

One of the courses there, perhaps not surprisingly, is titled Monster Left Hand, and explores ways to develop its dexterity and technique. By the way, Migliazza said, lefties don’t necessarily have an advantage in learning to play boogie-woogie piano. As critical as the left may be, it’s still a two-handed endeavor.

“The left hand’s job is pretty easy, compared to the right hand,” he said. “They have the most trouble with the right hand, and that’s harder — that’s way harder, because the right hand is always doing different stuff. I don’t envy the lefties.”