Monday, July 21, 2014

Updating the Resume

A true lesson in humilty: updating your resume(s).  

As a freelance pianist, it can be difficult to maintain a steady presence in any one area.  Many times*, one will take the jobs that are offered/found - and then adapt as needed.  Here are some examples: taking a church gig (without knowing how to play the organ), taking a theatre pit band job (never having dealt with keyboard patches/volume pedals/Mainstage), or accepting a piano teaching job (yet having little experience with an expected age group).  These are fairly typical events, and the good news is: over time, a freelance musician ends up building many different skill sets.  

On the other hand, a freelance musician can watch skill sets go completely unused.  That's what I realized after putting together an updated set of rep lists and CV info.  I have learned way more Musical Theatre repertoire over the last five years than Classical Voice rep - just because those were the jobs that fell in my lap.  Now I have the luxury (in many senses of the word) to ask - what do I want to do?  As I ponder this question, please enjoy (and critique if you like) my resume/rep lists as they tentatively stand. Keep in mind these are resumes, not CVs, so I prefer to keep them to one page. Getting a new headshot comes up next. God help me.  

*The situation of employment opportunities differ from pianist to pianist, from city to city, and can hinge on that frustratingly elusive element - luck.

Thursday, July 3, 2014


*Recently, I have been enjoying a unique privilege: to weekly perform on an incredible (beautiful Steinway full grand piano) instrument.  This also happens to be coupled with immediate feedback from trained ears - another HUGE privilege.  Most students call this 'piano studio' - and it usually isn't appreciated until way after the fact.

And I appreciate it now.  A lot.

I didn't 'get' it back in undergrad - it wasn't appreciated as a luxury because it became expected.  Access to excellent instruments often isn't appreciated at the time because performers don't know the range of suck-ness that exists out there: the disparate jangling of notes eliciting a sympathetic jangling of nerves - missing notes, strings, etc.  Pedals not working. Keyboards with only 4 octaves. Pianos barely in tune with themselves, sticking keys (rising slowly by the minutest of increments), keys that draw blood upon trying to execute a glissando - or how about keyboards that have notes that do not sound**.

It's so wonderful to hear how an ideal instrument can fill a room.  The world is filled with non-ideal piano situations - that much more reason to enjoy the access to excellent instruments when/while you can.   

*I wrote this and forgot to post it during the school year.
**Or worse - my latest experience has been with a keyboard that the F#2?  sounded like it was being smacked with a hammer, no matter how delicately you touched it.    

Sunday, June 1, 2014

Two Accompanist Gigs

Milledgeville, GA

Duties will include accompanying vocal lessons, ensembles, weekly student performance classes, student recitals, auditions, juries, and other rehearsals as needed. Will also teach applied piano lessons and assign grades for course credit. This is a temporarily-funded position. Continuation of the position is dependent on renewed funding on a fiscal year basis.

We seek a highly educated individual who is committed to teaching within the context of a strong liberal arts environment devoted to diversity, internationalism, community outreach, engaged learning, undergraduate research, and the free exchange of ideas. The department is committed to developing a diverse faculty and student body within the College of Arts and Sciences, and to modeling an inclusive campus community which values the expression of difference in ways that promote excellence in teaching, learning, personal development, and institutional success.

Knowledge/Skills and Abilities:
Knowledge of vocal and instrumental repertoire. Strong sight-reading skills.
Skill in coordinating and/or managing a collegiate collaborative environment.
GC is an Affirmative Action/Equal Opportunity Institution committed to cultural, racial, and ethnic communities. We promote equal employment opportunities regardless of race, religion, color, gender, marital status, genetic information, national origin, disability, sexual orientation, and gender identity. It is expected that successful candidates share these commitments.

Minimum Qualifications:
Master's Degree in Music in Piano.
One to three years of experience directly related to instrumental, choral ensemble and vocal accompanying.
Preferred Qualifications:
Doctor of Musical Arts in Collaborative Piano.
One to three years of collegiate-level experience directly related to instrumental, choral ensemble and vocal accompanying.

Special Instructions: Please submit high-quality audio and/or video recordings of
recent performances (within the last 2 years). Only electronic submissions will be accepted via Youtube, Dropbox, etc.

Online App form

The University of Indianapolis seeks applications for a Staff Accompanist in the Music Department. This is a full-time, ten-month, exempt staff position. The Staff Accompanist is under the supervision of the Chair of the Department of Music and serves as accompanist and musical support for student recitals, studio classes, lessons, seminars, ensembles, rehearsals, end-of-semester juries, hearings, auditions, and productions as assigned.

The successful candidate must be able to:
Sight-read and play complex repertoire with technical facility, stylistic understanding and artistry that covers a wide range of vocal and instrumental literature.
Demonstrate ability to prepare and perform repertoire for multiple rehearsals and performances.
Manage rehearsal and performance schedule with students/faculty/guest artists.
Perform as a collaborative artist/accompanist as needed.
Perform other job-related duties as assigned.

Required Education/Experience/Skills (Minimum Qualifications):
Minimum Master's degree or higher.
Extensive training and 3-5 years of experience preferred with coaching and accompanying in all areas of vocal and instrumental concert repertoire.
Demonstrated success as a professional accompanist with an ability to read open score.
A strong commitment to undergraduate education is essential and is in keeping with the needs and mission of the department.

The ideal candidate will demonstrate an interest in developing a comprehensive musical awareness in all students and will work effectively with faculty colleagues to enhance the offerings of a dynamic and growing department.

Special Instructions to Applicants:
Applicants should be prepared to upload a letter of application, resume, professional reference document (name and contact information of three professional references), and YouTube links featuring both vocal and instrumental collaborations. Please arrange to send a performance DVD/CD featuring both vocal and instrumental collaborations and three current letters of recommendation to Dr. Brenda Clark, Staff Accompanist Music Search Committee, Department of Music, University of Indianapolis, 1400 E. Hanna Avenue, Indianapolis, IN 46227.

Apply electronically at Review of applications will begin immediately and continue until the position is filled.

The University of Indianapolis is an affirmative action/equal opportunity employer and encourages applications from women and minorities.

Thursday, May 1, 2014

Practice Techniques

-From the studio of Dr Courtney Crappell at UTSA -

Practice sessions/marathons can easily get repetitive - here are some different practicing approaches:

Learning a new piece
1. Hands Separate Practice – Especially useful during the first day of practicing a new piece--use 3x3 at this point: 3x RH, 3x LH, 3x HT (Lysinger)--and then the month before performance. This is an indispensible technique for accurate learning of classical music.

2. Count Aloud – Be able to count at many different levels: subdivisions, beats, measures, and phrases. This is a crucial prerequisite for true artistic expression. Also, prepare to count the harmonic rhythm.
3. Metronome – Alternate sometimes with counting aloud. Work from slow to fast. Also, prepare to play with the metronome beat on weak beats or syncopated beats instead of on strong beats.
4. Rhythms – Related to group drills, but based on smaller groups (L=long; s=short): play L-s-L-s, s-L-s- L, L-L-s-s, s-s-L-L, L-s-s-L, s-L-L-s, L-s-s-s, s-L-s-s-, s-s-L-s, s-s-s-L; for triple divisions, L-s-s, s-L-s,s-s-L, etc. After groups of 4 or 3, double to groups of 8 or 6. For longer groups of rhythms, say letters for longs (A-B) and numbers for shorts (1-2-3-4-5-6) to keep track (e.g. “6-A-B-1-2-3-4-5”)
5. Blocking – Play all of the notes that fit into a single hand position. Supplement this with block-shift point practice—find the note that ends one block, and begins another, then create smaller blocks that are connected by those single notes. Often, the thumb plays the single notes. 

Tackling trouble spots 
1. Flexible Tempo (Gates) – Slow down your playing when you feel your mind cluttering. Be able to change your tempo while playing at the pinnacle of musicality.
2. Varying Tempos – Use flexible tempo, then slow, then moderate, then fast. You can also use a metronome to work from slow to fast (see “metronome” below).
3. Group Drills – (A variation on rhythm drills) For particularly challenging passagework (e.g. cadenzas), practice playing the first three notes as quickly as possible, then the next three, and so on. After groups of three are simple, try fours, fives, sixes, and sevens.
4. Accents – Instead of changing the rhythm (as in “rhythm” practice), add accents in the same patterns as those listed in rhythm practice. An accent replaces long notes. Short notes are unaccented. Also, useful to accent a specific finger number (e.g. finger 4) for awareness (Thompson).
5. Use the Aural Image (Gates) – For clarity in voicing within a single hand, play a chord or pattern with two hands to get the “perfect” aural image, then focus on the sound and play it with the single hand.

Striving for artistry
1. Voicing – In polyphonic passages (N.B.: homophony, e.g. chorales, is also polyphony), be able to voice each melody line.
2. Sing – Be able to replace any voice within the texture with your own.
3. Experience Dynamic Contrast (Gates) – Be able to play before and after dynamic markings.
4. Shaping – For more control and awareness, play passages while counting crescendos, decrescendos, ritardando, and accelerando. Also, while watching score, conduct dynamics, then play.
5. Play the Chords – Play the harmonies alone (for contrapuntal works, play the implied harmonies—for homophonic works, simply remove the melody) to get a sense of tension and release within the progression.

Techniques for solid learning and memory
1. Stop and Start (Thompson) – Add pauses or play even and odd measures.
2. Backwards by Sections – Divide the piece into manageable sections (6-12 measures long). Play the sections in reverse order by memory. e.g. play section 10, then 9, then 8, etc.
3. Random Sections – Similar to backwards by section, but sections are selected at random.
4. Hands Separate – Should be used at each stage in the memorization process, but is especially useful in preparation for performance. (Can begin process by ghosting RH or LH, then placing it in lap.)
5. With the Metronome, Counting Out Loud – Prepare to count at different divisions of the beat (e.g. sixteenths, eights, quarter, etc.)

Want more?  Here's a link for the entire document - it is a useful handout for reminders on varying your practice sessions.  Dr Crappell also wrote a great MTNA article on Preparing Students for Vibrant Sonatina Performances

Sunday, March 16, 2014

Article Repost: Beware the wrath of the church organist . . .

Apparently they slip in songs that make them giggle into the service.  For example:
"In one decidedly high church congregation, an organist punctured the mood of reverence as an elaborately dressed clergyman processed back after the gospel reading – by playing the theme tune to The Simpsons.  
Another congregation found themselves passing around the collection plate to the strains of “Money, Money, Money” by Abba. The survey uncovered examples of Eucharist celebrations livened up with renditions of Bon Jovi’s “Livin’ on a Prayer”; the theme tunes from the Magic Roundabout, Blackadder and Harry Potter and even “I’ve Got a Lovely Bunch of Coconuts”. Sung Evensong – widely regarded as the jewel in the crown of English choral music – has been spiced up by such unexpected offerings as “I’m a Barbie Girl” and “I’m Forever Blowing Bubbles” 
One organist who responded confessed to playing hits by Oasis, Billy Bragg and even Kylie Minogue in services but added: “Nobody notices – I do it all the time.” But when an organist played a slowed-down version of Supercalifragilisticexpialidocious from Mary Poppins, even the most tone deaf members of the congregation eventually recognised, sending them into gales of laughter."

My favorite memory is of a church musician who used to slip in a very slow version of "Landslide" by Fleetwood Mac to fill time during prayerful moments.

To read the rest of the article: