Music Directing Resources

The American Theatre Wing is a great resource on information about working in each specific discipline of theatre. I gathered together some interviews that addressed different aspects of music directing:


SDCF Masters of the Stage
Working with Dance Arrangers - 2010
Broadway choreographers and dance arrangers discuss the role of the dance arranger.

Career Guides 
The Musical Director - 2001
Ted Chapin interviews Paul Gemignani, who has received a Tony Award for Lifetime Achievement for his career as musical director for over 35 Broadway musicals.

In The Wings
Interview with Music Director Carmel Dean - 2010
Carmel Dean has worked closely with William Finn and Tom Kitt.
Interview with Orchestrator Christopher Jahnke - 2010
Christopher studied with William Brohn, orchestrator for Miss Saigon and Wicked, and worked closely with David Bryan on Memphis.
Interview with Sound Designer Robert Kaplowitz - 2010
Robert is a Tony Award winning sound designer
Interview with Voice Teacher Linda Benanti - 2010

Downstage Center
Interview with John McDaniel - 2004
John was the Music Director for Brooklyn The Musical

Its fascinating stuff, check it out!!

Article Repost: Holding the banner high . . .

Holding the banner high ... and passing it on: Margo Garrett, professional accompanist. written by Jody Graves


My favorite quote is when Margo Garrett addresses the importance of educating pianists to have multiple skill sets: 

" . . . it is more precarious than ever to venture into the artistic life as a livelihood, let alone a career. I really try to get them to . . .  prepare for vocal and instrumental repertory, opera, oratorio and some organ or harpsichord and fortepiano. I want them to be as broadly educated as possible because we never know where our opportunities are going to arise. The student who thinks he/she is going to spend their life teaching chamber music and perform with their own trio, may in fact get an opportunity from an opera house, and if they don't have the skills to respond in a variety of ways the career becomes limited. I am an advocate for broadly based education because it increases the likelihood of success"

Yes.  and Yes.

Article Repost: Didn't Get That Role? Don't Blame the Piano Player

One by one,the little girls were escorted into a room at Ripley-Grier Studios, an audition and rehearsal space just over the border from the theater district. Stephen Kopel, casting director for "The People in the Picture," a Broadway musical scheduled to open in April, made the introductions: "This is Eddie. He's going to play for you."

"Where would you like me to start?" Eddie Rabin asked kindly, looking at each aspirant's sheet music. "What's the tempo?"

"Can you sing it a little louder and maybe face the table, don't face me," he suggested to one would-be star who was among the half-dozen young performers to croon "Castle on a Cloud" from "Les Miserables." "I'll play it again in maybe a different key."

"Do I look familiar to you?" he asked Alexa Niziak, a fetching 9-year-old with blond braids. "I think I've played for you before."

Really, Mr. Rabin has played for everybody. Lucie Arnaz, Kristin Chenoweth, Tovah Feldshuh, Heather Headley, Donna Murphy (star of "The People in the Picture"), Alice Ripley—and that's just for starters. He's one of the most sought-after audition pianists in the business, sometimes working as many as seven sessions a week—some lasting as long as nine hours—for theater, movie and cruise-ship casting directors. And he somehow manages to pull a rich sound out of the beat-up Steinway uprights and bland Yamahas that are so frequently his portion.

Continue at: Didn't get that Role?

Modern Music Fable #1: The Talented Shepherd

The Talented Shepherd

A fair maiden disliked seeing the village shepherd’s skinny frame, ragged clothing and lumpy skin, and avoided him whenever possible. Then one day, she walked by his house and heard music of such beauty she was enchanted. She followed the music only to discover the shepherd, hunched at a piano and eliciting gorgeous sounds with confident strength, showing a mastery and skill that struck her to her core. From then on, no longer was he beneath her attention - she fairly threw herself at him, finding herself oddly attracted to what she had first spurned.


Talent is sexy.

5 Stages of Performance Denial

The 5 Stages of Performance Denial

When confronted with a no-win performance situation, pianists often undergo five discrete mental stages*:

• Denial – “I can do this”;  “Anyone can learn a Brahms sonata in one week”
• Pleading - “I can beg someone to sub”; "Who else can do this instead of me?"
• Bribery – “I can pay outrageous amounts for someone to sub"; "I will give my life savings if..."
• Coercion – “I can blackmail someone into subbing”; “I know you’re the one who never gave Prof X’s Schubert score back”
• Acceptance - “Public humiliation is imminent”; "I can't fight it, I may as well prepare for it." 

Seriously freaked performers skip the stages and simply practice for 18 hours a day.  Be smart.  Just Say No.  

*The humiliation avoidance process is highly personal. Steps do not necessarily come in the order noted above, nor do all pianists experience all steps (although they usually experience at least two). Those working through the stages possibly should consider several hours of caffeine-fueled rehearsals or support groups.  

Piano Surreality

Vladimir Kush

Jacek Yerka

Vickie Warner

Haikus #3

Tenors get the girls

When they’re on-stage; Baritones

Get the girls backstage

Special thanks to Brevard '06 alum, Emily, Julia, Kyra and Robert

Sunday Help

In the last few years, I've found certain websites, programs and books to be invaluable to what I do on Sunday mornings.  These are a few ideas on what to think about for doing this job, and also the websites that I've found the most helpful: 

Written-out music
The sheet music I receive can run the gamut of chord charts and lead sheets, to actual written-out music.  Some examples from yesterday's service: chord chart - lead sheet.  If I want something with more notes, I've found PraiseCharts.com to be a great resource for Contemporary Christian songs. Every church adjusts the music as needed, so expect to cut and paste, repeat, or transpose as the singer or congregation requires.  If PraiseCharts doesn't have it, often MusicNotes.com does. 

Writing-out music
If all else fails, you can create your own music: the notation programs currently used a lot are Finale and Sibelius.  Its just a really handy skill to have, also, so I suggest learning at least one of them.  

Listening/researching music 
Often the written out music in the hymnal is four-part harmony, and doesn't function well as an accompaniment.  Sometimes I research a hymn to see if I can find a style I like better than my version.  Some hymns are often swung or etc, and it isn't indicated on the music.  Between Youtube.com, itunes and Amazon mp3's, I'm usually able to find what I'm looking for.  With current stuff, you really have to listen to it just to get the sound and feel right (there's not much to go on in a chart).

Matching music to text
Part of the job of the church pianist is to help make the service flow as a unified whole.  One way to do this is by choosing music that reinforces the day's scripture reading (You can look it up in the Online Bible) or the day's sermon.  I've tried looking online for either a 'scripture index to hymns', or a 'topical index to hymns' for ideas of which music to choose - but haven't had much luck (at least on the free sites).  It's best just to stick with your church's hymnal, which should have some kind of index that will help. 

Prelude/postlude solo piano music:
Mark Hayes stuff is pretty standard
Fred Bock is simple, yet pleasing (The arrangements that I like, such as On Eagles Wings, Here I am, Lord, Hymn of Promise, etc are all in this book)
Anything classical is typically fair game, especially literature everyone has heard at one point in their lives (Claire de Lune, anything by Bach, etc)
If you have a singer, art song can be used as well. Try: 
Aaron Copeland's Zion's Walls, At the River and Simple Gifts
Lee Hoiby's The Lamb and The Shepherd 



 

Tweets!

A smattering of the offerings on Twitter, under the hashtag #accompanisthaiku

Dear NATS: your rule on

'Original copies' means

I play with one hand

No, really, it's fine.

I'll just guess what those notes were

on the last system.

No need to turn and

Nod as if I'm the butler

I'll play when you breathe

I'll be singing this

Song by Jason Robert Brown

(hold soft pedal down)

Improvise while the

Soprano makes up German?

All in a day's work

The Hal Leonard version:

Just like the older versions

But with worse page turns

Paul Hindemith wrote

sonatas for everyone.

I wish he hadn't.

Why is my music

more difficult than yours is?

Damn you, soloist!

You think that you are

conducting the choir yourself.

The organist leads

Nobody panic

The measures that you just skipped

Didn't matter much

You call me at nine

with audition tomorrow -

that's seventy bucks.

Critic in Row M:

I accompanied ably.

Last sentence is done

Acknowledge me, don't

Acknowledge me, just so long

As I still get paid

When a singer falls

Off pitch, off rhythm, off beat

I just play louder.

Huh . . .

 

Not really a piano, folks, its a

"piano" . . . 

Pianist Haikus, #2

Fish swim, birds fly and
Freelance musicians gotta
Drive until they die
 . . . (my deepest apologies to Hammerstein and Kern)

Dear NATS: your rule on

'Original copies' means

I play with one hand

Standards within Standard Repertoire

Somebody asked a group of pianists who have gathered together from all over the US, "Okay, what songs have you done to death?"  Their responses: all very, very different.  That's what inspired this post . . .

Within every school of music, there is a set of vocal studios, whose teachers tend to assign a certain set of music.  Eventually, - at that school - those songs becomes '"the standard repertoire" within what's considered to be "the standard repertoire"'.  For example: while I was in undergrad, I think I played Der Nussbaum and Loveliest of Trees about a billion times (give or take).  In grad school, Caro Mio Ben won the prize for most performed piece (three students in a row one day, for juries).  When I worked in CA, I played Amarilli Mia Bella constantly.  In PA, I cursed at JRB regularly, as well as Adam Guettal. 

Contemplating this made me curious - what do other schools have as their standard rep within 'standard repertoire'?  Which schools favor Wolf over Brahms, or Bolcom over Barber?  Or on the Musical Theatre side of things, which schools choose the Golden Age of MT over something written within the last 10 years?

I'd love to come up with an interactive map of the US, showing which composers/songs are 'in vogue' at which institution.  I admit I researched the idea, and found it to be more complex than I'd like to create such a thing - and I'm pretty patient.  I'd still love to hear who has been doing what to death, however - in either the classical or musical theatre repertoire areas.  Please feel free to contribute via the comments section below. 

MS2 and such

Ragtime went well!  I was pleased with the music side of things, both pit-wise (horn, trumpet, trombone, tuba, bass, drums, flute, clarinet and two keyboards) and Mainstage2-wise (MS2 from now on). MS2 worked beautifully.

The details I had to figure out: I used a normal sustain pedal as a foot switch (since the main foot switches I've seen advertised were unnecessary for my purposes).  This discussion explains the trick to doing that on MS2:  1)in Layout mode, select the "next Patch" button and 2) in Edit mode, set your controller to just respond to 64 - 127 (so it switches one patch at a time, not two).

Sound patches on MS2 are good, but their volume levels needed to be tweaked.  The harp and accordion patches, for example, were really loud compared to the piano patch.  Rather than depend on the expression pedal to keep sound levels maintained,  I went into their specific patch channels and lowered their overall volume to a comparable level.


Next up: Once Upon a Mattress and By Jeeves

Mainstage in the Pit

Tech week (theatre code for: don't have any other plans*) completed, Ragtime goes up tonight.  With any luck, the cast won't drive the Model T into the set.

At Goodspeed's MDI I learned about the program Mainstage - and wanted to put that knowledge to use immediately - so this is the first time I'll be using Mainstage2 for a show.  All the patches are set up through the program on my laptop, its connected to a Yamaha S90 - and I switch patches with a footswitch.  Its a lot easier than patch switching with my hands, and I'm really happy with the results.  Figuring out Mainstage was mostly a time issue - I'm little better than a monkey at computers, but I got my set-up to work.  It also helped to browse Apple Support Discussions on Mainstage and watch tutorials.  

*Music Theatre Dictionary's definition of tech week:

Tech Week -noun- A hellish time in which one learns to hate the entrappings of a theatre.   

   "If belting a string of E flats doesn't kill me, tech week will."

Gaaaa

My apologies for being MIA - December was December (stupid busy), I got married Jan 8th (Vegas would have been WAAAY simpler), promptly flew back and drove to Connecticut for Goodspeed's week-long Music Direction Intensive (like drinking from a firehose).

Today was long. Sundays are not my day of rest: church, 5.5 hrs., followed by 7 hours rehearsal, mostly of the MT variety.  Today felt slightly odd going from old-time hymnal work and/or Contemporary Christian improv to Flaherty's Ragtime to a complete free-for-all of MT repertoire (Scott Alan, Avenue Q, JRB, etc).  

I find myself simultaneously hating snow and wishing it would snow.  Very strange.

Music Direction info

Arizona State University now offers a Master of Music in Music Theater Performance: Music Direction.  It seems like a cool opportunity to learn by doing.

The only other degree I've found that's similar is at Shenandoah University, which offers a Bachelor of Music in Music Theatre Accompanying.  The rest of the learning opportunities mainly take the form of 'internships', or brief workshops like the Goodspeed Opera House's Music Direction Intensive.

Another source of info:  

Peter Hilliard's blog, Music Directing the School Musical

 

Music Copyist links

Full-time musicians often have more than one job (myself included), and one way of making cash is doing copyist work.  I turned up several articles while researching the subject, and thought I'd share the information:

What Exactly does a Music Copyist Do?

What it takes to be a Professional Music Copyist

Making a Living as a Music Copyist

Career story of music copyist

Composer's blog entry on Copying Music

Fascinating Life of a Music Copyist (part 1, 2, 3, 4)

Blog Entry on Guidelines for preparing scores and parts for performance
Music printing, a journey for engravers 1, Music Copying and confusion 2, Changing times for Music Preparers 3

Sibelius vs Finale: How to Choose?

Neat bunch of articles on Music Preparation and Notation

Articles about making your workplace back-friendly:
Music Prep Ergonomics Part 1
Music Prep Ergonomics Part 2

Book resource:

Music Notation (Berklee Guide)

Pianist Haikus

Gig haikus* have been floating around the internet for awhile - mostly from the jazzer or bandmember's perspective.  I penned a few to express a different perspective, and will probably add on periodically as the muse strikes. CP's should understand the references:

Love's Philosophy

This isn't my voice jury

But I am on trial

If I never thought

She'd come to rehearse today

Am I still stood up?

Did not check the score

*kicking self repeatedly*

Before saying yes

*My favorite of that bunch:

I'm sending a sub

But don't worry, he'll be fine

He's fresh from rehab

Article Repost, turn the page

Although violists and bassoon players have long argued over who gets the least respect in the music world, orchestras and ensembles of all kinds depend on the skill of a utility player so overlooked, he or she doesn’t even rate a mention in the program book. Today, a look behind the scenes – and behind the pianist – with LACO resident page turner, Daniel Stott (article by Michelle Weger).

How did you get into page turning? Was it a dream from childhood or something you just stumbled into?

Well, aside from the fantasy I always used to have about standing eerily close to Rick Wakeman while he was taking a blistering Moog solo, I didn’t give page turning much of a thought as a child. My first experience was in college (Isn’t everybody’s?!). A trombone player who was a friend asked if I would turn pages for his accompanist on his junior recital. I agreed to do it because I figured it beat the heck out of actually just sitting through the trombone recital. Just kidding. So, I apparently did a good job. The piano player played all the right notes at the right time and I didn’t get my head caught in the piano lid so it was a resounding success. After that, people seemed to figure out that I am either good enough at reading the music to be okay at it or I am too stupid to be scared of messing up. Now I get the best seat in the house for a concert.

Tell us about your particular technique.

Grab Page
Wait for nod
Turn page fast.

No, no I’m just joking. As you can probably imagine, turning pages is a fine art. The first aspect that requires special attention is the chair in which you sit. You are going to be getting up and out of it often so it better be sturdy and well oiled because nobody likes a squeaky page turner, NOBODY. Secondly, the only other thing to watch out for is that you need to grab the page with your left hand instead of your right. Now, I have never been a “Northpaw” (Is that even the opposite of a “southpaw?”) as a page turner and I have never heard horror stories about this either, but I bet that somebody somewhere has been knocked out by a flailing right elbow to the face. That would be embarrassing. Lastly, always remember to tell the performer “nice job” or “we’ll get’em next time.” They like to hear that and positive affirmation will give them renewed confidence to get back on that stage again.

Do you have a special regime you follow to stay in prime condition for the job?

Oh yes, I pray frequently.  

Etc, etc etc . . .

Jury Week Relief 2*

Redeem from your voice department.

*What we really want: Bribery.

Jury Week Relief

Jury week generally sucks. It may help pianists to have a game on the back burner - such as backstage bingo, CP-style.

Have a multi -CP competition. Betting is optional.

These conversations really happen . . .

Article Repost, Playing for Pliés

Juilliard Alumni News Spotlight

Playing for Pliés—A Life in Music and Dance

Marjorie Landsmark-DeLewis (Photo by Chris Downes)

More than five decades since receiving a degree as one of Juilliard’s first African-American graduates, Marjorie Landsmark-DeLewis (Diploma ’48, piano) occupies a special place in the ranks of American dance musicians. Over the course of her distinguished career, she worked with Agnes de Mille as rehearsal pianist for the American Ballet Theater, accompanied classes for dance legends Antony Tudor and David Howard, and served as music director for dance at Sarah Lawrence College. At age 90, she remains active as a composer and performer, and was recently featured as a special guest artist at the International Guild of Musicians in Dance’s 20th anniversary conference in Tucson.

Landsmark-DeLewis was born and raised in Harlem, where she began music lessons at age 5 with her uncle, a classically trained pianist who taught her in the same way he’d been instructed as a youngster in St. Kitts—by rapping her knuckles when she made a mistake. Seven years and a few sore fingers later, she began studying with Edward H. Margetson, a prominent black composer, conductor, and church organist who lived in Washington Heights. Lessons, Landsmark-DeLewis recalled in a recent interview with The Journal, cost 50 cents.

When it came time for college, Juilliard was the obvious choice. Not only did she have the talent and a strongly developed sense of discipline instilled by two demanding teachers, but the School, in its previous Morningside Heights location, was within walking distance of her family’s home. At Juilliard, Landsmark-DeLewis’s instructors included Karl Friedberg, Lonnie Epstein, and Arthur Newstead, with whom she continued to study for several years after completing her degree. As she remembers, there were very few black students enrolled in the School at the time, but “we didn’t stand around and talk with each other—we were so happy being at Juilliard we didn’t want to waste time.”
It wasn’t until the excitement of graduation was over that she asked herself, “Now what am I going to do with this [degree]?” By luck—or divine intervention, if you ask Landsmark-DeLewis—she found the perfect opportunity on Juilliard’s job placement board, where Aubrey Hitchens (an influential dance teacher and one of Anna Pavlova’s last partners) had placed an ad for a pianist to play Bach’s Italian Concerto for rehearsals and performances at Jacob’s Pillow Dance Festival in Becket, Mass. Having just performed the concerto on her graduation recital, Landsmark-DeLewis immediately contacted Hitchens and aced the audition. She went on to become his rehearsal pianist, quickly demonstrating an exceptional sensitivity to dancers’ needs and gaining a vast knowledge of repertoire from the piles of scores he gave her.

etc etc etc . . .
 

The Mezzo List

WOLF TRAP OPERA

2011 AUDITION TOUR MEZZO ARIA FREQUENCY LIST

MEZZOS

Arias offered by 84 mezzo-sopranos scheduled for auditions for the 2011 season

The Composer is the Winner: 25X

Sein wir wieder gut

Runners-up at 23X

Must the winter come so soon?

Smanie implacabili

15-20X

Va! laisse couler mes larmes

Que fais-tu

Voi che sapete

10-15X

Svegliatevi nel core

Give him this orchid

Parto parto

Cruda sorte

5-9X

Non so più

Pres des remparts (Seguidilla)

Una voce poco fa

What a movie

Faites-lui mes aveux

Wie du warst

Mon coeur s’ouvre à ta voix

O mio fernando

Non piu mesta

Things change Jo

Vois sous l’archet (Violin aria)

etc etc etc

Want Some Suggestions of Standard Soprano Rep?

WOLF TRAP OPERA

2011 AUDITION TOUR SOPRANO ARIA FREQUENCY LIST

These lists are culled from the 4 arias listed by each singer on the application form. Since they allow singers to change their lists, there’s no guarantee that these are the actual pieces that are sung; however, it’s a good general idea of how popular a given aria is among YAP auditioners.

SOPRANOS
Arias offered by 163 sopranos scheduled for auditions for the 2011 season:

The Runaway Winner at 40X

Ach ich fühl’s

Quite Popular at 15-25X

Caro nome
Deh vieni
Je suis encor
Je veux vivre
No word from Tom / I go to him
Quando m’en vo

Moderately Frequent at 10-14X

Ah je ris (Jewel Song)
Ain’t it a pretty night
Come scoglio
Durch Zärtlichkeit
Embroidery aria
Gold is a fine thing (Silver Aria)
Je dis que rien ne m’épouvante
Je marche / Obéissons (Gavotte)
Mir ist die Ehre (Presentation of the Rose)
Quel guardo / So anch’io

Popping Up Occasionally at 6-9X

Ah! non credea / Ah non giunge
Amour ranime mon courage
Be kind and courteous
Chi il bel sogno di Doretta
Comme autrefois
Da tempeste
Donde lieta uscì
Du gai soleil
Goodbye, World (Emily’s Aria)
Klänge der Heimat (Czàrdàs)
Mi tradì
Non mi dir
Padre germani addio
Per pietà
Porgi amor
Prendi per me
Regnava nel silenzio
Sul fil d’un soffio
Tornami a vagghegiar
Zerbinetta’s aria

etc etc etc

A link to ALL of the repertoire lists, in PDF format

How Far We've Come . . .

'Collaborative piano' is a field that has made huge strides in the last 20 years. It's become so acknowledged that I tend to blink when I find articles from the past like Concert Notes: Rehearsal Pianist Steps Out (written in 1990). It's an interview of Judith Jackson, a principal pianist for Chicago Opera Theatre, and has comments like:

"Jackson is not one to apologize for her chosen field. "I know a lot of pianists who think accompanying and operatic work are boring and limiting, in terms of their own creativity. But I find it very challenging--and I really love it!...."

"Jackson is an accompanist, and proud of it."

Then there's Gerald Moore's book, "The Unashamed Accompanist".


I'd like to suggest yet another title: "The Employed Pianist".

Article Repost about Becoming a Collaborative Pianist

Preparing the Young Collaborative Pianist by Patricia Stowell, August 1, 2008

As a 12-year-old pianist, I played for my sister, a violinist, at lessons and recitals where her teacher acknowledged my natural accompanying abilities. I didn't recognize them until the evening our parents invited us to play for their guests. With my sister's upward sniff, things were off to a fine start until my score awkwardly fell to the floor, drawing all eyes towards me. Deftly, I kept one hand at the keyboard, continuing to accompany my sister, as my other hand reached to the floor to retrieve the score. My parents and their company described their relief following that tense moment, amazed I never left my sister without support. It also affirmed something I would later value--that this was one of many skills necessary for being a good accompanist.

Starting Out: Identifying Talent Early On
Today I realize how helpful it can be to young pianists to identify good accompanying skills and draw these to their attention early in their studies. We can help students see how the field of accompanying offers a broad range of possibilities beyond that of a solo career or a career as a piano instructor. As director of the Kneisel Hall Maine Young Musicians Program for chamber music, I recently coached a piano-violin duo. Though the violinist lacked rhythmic precision and used an erratic kind of rubato, the young pianist followed her perfectly. We worked on both players' challenges of breathing with the music and learning how to use rubato; the results later that afternoon well surpassed my expectations. This pianist had an amazing ability to listen and follow the violinist. She understood the timing of upbeats, the give and take of breathing and expanding where necessary. She also had an innate sense of harmonic tension and cadential endings-all which she anticipated and prepared. We also addressed the issues of balance and when one instrument needed to yield to the other. After encouraging her to pursue collaborative playing, the pianist asked me how she could work on her accompanying skills. My suggestions included:

* Play often for choruses and voice lessons, which introduce pianists to the art of following singers' breathing.

* Work with other pianists on four-hand literature.

* Continue to work with string players, paying attention to the violin teacher's instruction regarding bowing.

* Play for instrumentalists from the brass and wind sections in order to get acquainted with the mechanics of these instruments.

* Take language courses.

There was little time to go into detail, but her reaction to what I stated indicated that these ideas came as a surprise. At age 12, however, she was mature and ready to learn about collaborative possibilities and about her musical gifts. That she even had the talent surprised her, which confirmed to me the value of early recognition and acknowledgment of particular giftedness.

The effort I just described involved a duo ensemble, but what are other opportunities we can encourage our students to pursue? How do we lead them into the business of charging money and playing the piano for a living? Might they pursue a career as a professional accompanist or a chamber musician?

Etc etc etc

Pro Bono Piano - Another Perspective

To perform or not to perform - for free, that is. Opinions vary*.

My two cents on the subject: Sometimes.

If you don't have financial security, the question's a no-brainer (you gotta eat). But if you can afford to play for little or no wages, the next question is: what's the end goal? I've addressed the topic from a few angles . . . 'cause it depends.

Education

Opportunities to extend one's education isn't always paid - especially when performers are inexperienced. Volunteering is one way that beginning collaborative pianists can acquire the marketable essentials: repertoire, skills and experience.

Repertoire: What does your repertoire list look like? (Do you have a repertoire list . . .) Standard rep played by oneself is good, standard rep performed is better. Offering a freebie to a cash-poor-but-excellent musician can give you an excuse to learn (insert song cycle/instrumental literature here) and perform it as well. If its for a recital and you get a recording out of it, even better.

Skills: Chops are not enough. Do you know how to:

• Be useful in a choral rehearsal - follow a conductor, help rehearsals go smoothly by anticipating a conductor's needs, read open-part scores and listen to the choir for sections that need 'help'?
• Function as an orchestra member by playing orchestral keyboards/celeste - this is very different from most pianist experiences
• Play an opera or music theatre audition without terror/train wrecks? There is standard rep in both of these genres you have to know on sight, as well as adjust to each singer's interpretation of it (offering to turn pages is a good introduction)
• Read a musical theatre conductor's score and know what to leave out? Most universities do shows of some sort, get started by 'sitting in' or volunteer to substitute for rehearsals

Experience: An experienced pianist is much more appealing than a pianist with chops who does not know the ins- and outs- of playing for (fill-in-the-blank). This is why it can make a lot of sense for a student to volunteer to play on the cheap in order to say, "Why yes, I've played Dichterleibe/weddings/church service/choral rehearsals before" - and even better, be able to back it up with references. Another angle: If you are a starving student, consider quid pro quo. Barter your piano skills for voice/Finale/tapas cooking lessons.

Exploration**

Professional musicians may want to increase their knowledge/skills base and marketability. Say they want to try their hand at:

• Accompanying dance classes
• Church and temple work
• Providing wedding and funeral music
• Providing 'background music'
• Transitioning into musical theatre pit work/music directing (MDing) from a classical background

You may be lucky enough to find a paid training opportunity that gives you an 'in' to learning about a new workplace. But if not, you can create your own training by 'sitting in', watching, offering to substitute or any number of things that will get your foot in the door. Most of these situations do not follow a direct career path, people kind of 'do what they know'. And they've learned by doing.

Exposure/Networking

After moving to a new area, many musicians trip over the scary reality: people use who they know. Volunteering is a way to gain visibility in circles that generally go by word of mouth when looking for pianists (higher education environments, private studio teachers, musical theatre circles). Consider:

• Community theatre pits usually offer a small stipend - and are also comprised of private studio, elementary and high school music teachers. That an excellent source of referrals for solo and ensemble, audition recordings and recitals etc.
• Volunteer to play for a lesson or two of private voice students. Their teacher may have students who need pianists
• Meet other musicians and possibly form a duo/trio/etc, offer services at social functions

My own experience: playing at a university for free/low wages has gotten me hired at two universities since moving to this area. People use who they know.

Enjoyment

Sometimes, you do things because you can. Once I played for a solo mandolin recital for a very modest fee - why? because when else will I ever be asked to play a mandolin recital? For you, maybe its a singer with a gorgeous instrument but no cash, a fringe music festival or a jazz opportunity. Pursue music-making experiences that intrigue you on some level - it helps you remember why you chose music in the first place.

Doing things for low cash, food or effusive thanks and a meaningful handshake does not pay the rent. And yet, education and experience, exposure and enjoyment are all important. Which means, evaluate each situation: will this interfere with actual paying gigs, will this benefit me in some way and/or be fun? Your call.

* Musician bloggers Dave Hahn (article 1 and article 2), Jonathan Jaeger, Geraldine Boyer-Cussac and Stephen Taylor have all commented on the subject.

** In these circumstances, be clear what you are doing and why (you don't want to set a precedence of permanent nonpayment). Just have a plan. For example, Jaeger's blog suggested aspiring background music providers "offer to play at a discount at the beginning until you establish a relationship with the venue", or "offer to play five gigs a month with the last one being free".

Further Dance Accompanying Resources

Articles:

Backstage article on Music for Ballet Class

NYTimes article on Dance View: A Ballet Pianist May Equal Dancers in Importance

Two articles from danceadvantage.net, the story of Richard Maddock, who has played for dancers since the age of 14:

One with the Music: Accompanying Dancers Part One

One with the Music: Accompanying Dancers Part Two

Theory and practice: Striking the Right Chord

Piano Art Installation

There's something epic about these. Pieces are by artist Florentijn Hofman.

My Church Gig Top 5

My church job is amusing on many levels, but I gotta go with these as my Top 5 favorite things:

5. Plastic plants

Onstage there are a variety of plastic plants that 'lend color' to the stage . Other than that, they generally collect dust and get in everybody's way, showing up in a different place every week. I'm partially convinced the ficuses have gained sentience and are making diabolical plans.

4. Oreos, fishies and apple juice

In between services they set out a mountain of Oreos and a little dixie cup army with apple juice or cheese fishies. Very handy for 'on-the-go' snacking between playing.

3. The small children's choirs

These are adorable. Slowly herded on- and off-stage like tiny, dazed convicts, the kids generally remember half of the words and/or movements. I love how their levels of involvement range from cheerful enthusiasm to mild disinterest to the kid who's completely removed and staring at the ceiling lights*. And always, there's one kid who sings a little louder than the rest or a little longer than everyone else.

2. The baptisms

A ritual that is deeply important to both individual families and the entire congregation occasionally goes awry. Watching parents chase immaculately-dressed toddlers, squelch multiple flailing limbs or desperately attempt to calm a wailing infant - all under the steady rhythm of the pastor's voice - makes me giggle.

1. The couple who dress their toddler in a bear suit

I first thought the couple was toting an enormous teddy bear. Instead, it was a child, dressed in a one-piece fuzzy brown bodysuit with ears. I looked for that child every Sunday last winter. And I'm hoping the suit still fits him.

*Or playing with the plastic plants

Warning:

Some pianos can actually speak. So be careful what you say while practicing - they might talk back.

Sometimes I Feel Like This

A Perfect Example

Recently I was handed a song to play at a Cabaret rehearsal - a stack of single-sided copies. I spent most of the song grappling to relocate pages from a horizontal location to a vertical one with one hand, while keeping tonality and time with the other. Here was the end result: 

This is what happens when single-sided sheet music is given to pianists. The Moral: hole-punching is good.