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.

What are You Doing Next Summer?

You need to start thinking about this now. Fill out online applications, scribble the paperwork, burn the CDs and bug people for letters of recommendation.

To get you started, consider these collaborative piano opportunities:

Chamber/Instrumental:
Aspen - Collaborative Artist Program

Aspen - Contemporary Ensemble Fellowship

Banff Centre - Collaborative Piano Internship

Castleton Festival Orchestra

Chamber Music Northwest Young Artist Fellowship

Eastern Music Festival hires collaborative pianists for instrumental accompaniment, must be 21 to apply
Interlochen Summer Arts Camp hires 4-5 Instrumental accompanists

Hot Springs Collaborative Piano Apprenticeships

Kneisel Hall Chamber Music School and Festival

Meadowmount hires string accompanists - send resume & repertoire list (violin-viola-cello only) to gagnona@uncsa.com

Music Academy of the West - Instrumental Fellowship

Norfolk Chamber Music Session Fellowships

Summer Chamber Music Festival is a four-week chamber music program for string players and pianists aged 18-26

Tanglewood - Instrumental Pianist Fellowships

Texas Music Festival Fellowships

University of Nebraska-Lincoln - Chamber Music Institute Fellowships

Opera:
Arbor Opera Theater hires three accompanists 
Ash-lawn Opera Festival hires one or two accompanists every summer

Aspen - Opera Coaching Fellowship Program

Atlantic Music Festival Fellowship Program (I think this is an opera gig . . . )

Banff Centre - Assistant Coach/Repetiteur
Bavarian Summer Voice and Piano Collaborative Workshop

The College Light Opera Company hires two rehearsal accompanists every summer

Crested Butte Music Festival - Assistant coaches
d'ell'Arte Opera Ensemble hires 2-3 piano interns/apprentices

Glimmerglass
Green Mountain Opera Festival - Apprentice pianist
Intermezzo has a 'Festival Orchestra Program'
IPAI Collaborative Fellows/Apprentices in Musical Theatre and Opera 

Merola Opera Program

Music Academy of the West - Vocal Fellowship
New York Opera Studio Intensive - six pianists accepted, $500 for expenses (room, board)

Oberlin in Italy - Accompanist Apprenticeships

Opera in the Ozarks hires one or two rehearsal accompanists every summer
Opera New Jersey - coach/accompanist apprentice

Opera North - hires pianists

Opera on the Avalon - art song and opera

OperaWorks Summer Intensive Program for coaches
Palm Beach Opera YAP - pianist/coach

San Francisco Merola Program

Tanglewood - Vocal Pianist Fellowships

Wolftrap Coaching Fellowships

Vocal - Art Song:

Asolo Song Festival & Institute for Song Interpretation (Italy)

Baldwin-Wallace Art Song Festival

Franz-Schubert-Institute - summer course for singers and pianists

Songfest - for singers and pianists
Vancouver International Song Institute

Musical Theatre:

Bowling Green State U Huron Playhouse

Intermezzo has a 'Festival Orchestra Program'

Interlochen Summer Arts Camp hires 4-5 Musical Theatre pianists
Kalamazoo Civic Theatre hires pianists
Music Theatre Bavaria has Collaborative Piano Internships
Rocky Mountain Repertoire Theatre hires pianists

Surflight Theatre - Musical and Music Directing Internships
SRJC Summer Repertory Theatre - This may be more pay-to-play, but they do use rehearsal/performance pianists
Summer Stars Asst. MD Internships

West Virginia Public Theatre occasionally hires summer rehearsal pianists

Choral:

Berkshire Choral Festival has an a Apprentice program for pianists

Interlochen Summer Arts Camp hires 4-5 Choral pianists

Dance:
Ballet Nouveau Colorado has Internships for their summer intensive

Interlochen Summer Arts Camp hires 4-5 dance pianists each summer

Etc:

Valleyfair Amusement Park hires pianists for summer shows - the rep is R&B, rock and kid stuff (in other words, easy $$)

http://www.atlanticmusicfestival.org/amf-institute/fellowship

Paranoid - or prepared?

Before leaving the apartment last Saturday, I stared at two items: an adjustable piano bench and a music stand. I debated the likelihood of using either [essential] items at my upcoming wedding gig, and ended up being partially lazy: I dragged the metal stand out to the car and left the bench. This partial foresight and the fact I was 30 minutes early was what saved me.

Upon arrival I was led to a keyboard and a keyboard stand [with a sustain pedal, as per my request]. There was NO visible music stand, though, and I was met with blank faces when I asked for one. Fortunately, the spare stand in my car made it so I didn't have to resort to reading-music-in-one's-lap or music-folder-held-by-stranger survival methods. The very low chair/bench created some challenges - and caused me to mentally curse my laziness* - but I made it work.

. . . on another day . . .

I played for a funeral. Unexpectedly, I was required to provide about 15 extra minutes of background music. Due to pure luck, I had included extra music in my folder. This meant I did not have to resort to poorly disguised Christmas carols or Disney tunes** in order to avoid repeated repertoire.

. . . then another time . . .

I had to play for three hour rehearsals, and with a [hard] wooden piano bench that was too low. Just in case, I had brought an adjustable, padded bench in my car - which saved my back AND my butt.

The moral: strive to have too much music and a car stuffed with extra stands and music benches -- plus at least one extra metronome (just because).


*On the other hand, parking was located two blocks away from the site. And it was hot. I was cranky enough discovering the lack of stand & trekking the subsequent round-the-block trip. A third lap would not have been the best idea.

**Am mostly kidding - I have other repertoire in my head and in my fingers. However, its amazing what tunes jump to mind when you are scrambling for an appropriate melody to fill the silence.

Find Some Choral Gigs . . .

While looking at jobs, I was struck by the number of positions listed on ChoralNet.com. Mostly they're part-time gigs and an easy source of cash, with gigs in several parts of the US. Check them out!!

This is the what their jobs page currently looks like:

Other Pleasantries and Such

Continuing on the idea of theatre courtesy, I've also noticed other of their folk saying 'thank yous' that aren't really about genuine gratitude. From the director, stage manager, stage minion or actor, the words mainly seem to acknowledge patience, talent and work contribution. Lots of times, its used in ways such as:

• Acknowledging an announcement: For example, a places call ("Five minutes to places") is responded to with "Thank you, Five"
• Conclusion: After general announcements, these words conclude me speaking ("Blah blah blah, thank you")
• Multi-layered use: Appreciation for patience, Apologies for the wait and Cue to stop/start -insert action here- ("Thank you, name," and the scene continues until the next cue)

Kinda standard. But an outsider, say a pianist, may hear subtle shades of meaning within the chatter. And it can be entertaining - especially in auditions:

• An actor's potential for being cast (Definitely - Oh, not a chance)
• An actor's potential for getting a date (I won't cast you but I find you attractive)
• A director's irritation (Go away - What on earth was that - For the love of God, stop)
• Groveling (I was a jerk earlier and am trying to compensate for it by being overly polite after the fact)
• Overeagerness (I'm so excited to be here I say everything with ridiculous enthusiasm)
• Toadying (You are superior to me - I live to obey your every whim)

Just try not to laugh when the meaning is too transparent.

Another oddity I discovered this summer is something I'll call the 'mid-season meltdown' - a spontaneous crying fit that occurs for no specific reason. I found summer stock really intense, as did several of the students that I worked with (Huron Playhouse is an extension of Bowling Green University, so its a mix of students and professionals). It was challenging, glorious, and astonishingly draining, and any of the following caused many to crack: missing a loved one, learning the lines, songs or choreography for up to 3 shows at once, lack of sleep, constant close contact with the same people, loss of wallet or car keys, not bathing in two days . . . One member found herself sobbing when she couldn't find her dance shoes, another as she quietly did needlework in the box office. My own occurred in the middle of a full-run rehearsal of a show: I'm in the pit, tears streaming down my face for most of the second act (I still have no idea why). All I know is that hasn't happened since I was 10, when my mom forced me to perform for someone and I really didn't want to.

. . . You're Welcome

Courtesy is big in theatre. In a theatrical collaboration, artistic personalities are shoved together for long hours and deal with stress and deadlines - often without necessities like sleep, caffeine or air conditioning. Manners become very important in maintaining the peace (or at the very least, a functional level of animosity). To my mind, this is why actors and singers always cram pleasant things into their conversations - i.e. 'You're the best', 'you're amazing', etc. Pianists get to hear a lot of positive comments, but it's the courtesy phrase, "Thank You," that tends to get the most mileage. And an astounding range of meanings are wrung from those two syllables.

Volumes are conveyed by factors beyond word choice - the person's facial expression, tone and timing can change the meaning from actual gratitude to mere acknowledgment, hopeful toadying, etc . Here are some common 'Thank You's' that audition and rehearsal pianists will run into at some point:

• Pure Gratitude Thank You: You saved my life out there!"
• Relief Thank You: You didn't screw up, I was worried when I saw you
• Perfunctory Thank You: I am a self-obsessed actor/singer who has already mentally checked out but I have enough experience and training to know you never piss off a pianist
• Slightly Chagrined Thank You: I know its totally wrong for me to bring this song to an audition but I didn't care enough to bring something else
• Surprised Thank You: Wow, I was expecting something less professional
• Impressed Thank You: God, you're actually good!
• Non Thank You: I secretly blame you for a bad audition
• Bashful Thank You: Please don't think less of me after you've seen me totally suck
• Shameless Self Promotion Thank You: I want you to speak positively about me in the future
• Intelligent Thank You: I will do my damnedest to be charming because I need you on my side

What's funny is that a lot of pianists would prefer to have the stupid LH at the bottom of the page (or to not need to sightread 'The Beauty is" from Light in the Piazza) rather than a sincere thank you . . . Or I may just be speaking for myself.

Please feel free to add on anything from your own experiences.

No Rest for the Wicked

Actually I've been resting a lot today. Summer stock ended yesterday at 4:30am (or so). When a show concludes, something called 'strike' happens. They dismantle everything, pack it up, put it on a truck and clean up whatever is left over. My contribution revolved around the orchestra pit and erasing scores, but then I wandered around and assisted other tasks, which included folding up stage backdrops, pushing wheeled things up a ramp and onto a truck and stacking chairs. There was a lot of shouting and pizza involved.

I drove the 7 hour commute yesterday from Ohio to VA, and have been in a coma for over 12 hours, but wanted to update since I've been MIA since May. I return to my church gig this Sunday, and start up my 3+ academic gigs within a month or so.

I will definitely comment more on the summer, when I get my eyes uncrossed.

Oh, Ohio

It seems that library computer priviledges are pointless when you have rehearsals during library hours. I so need a laptop.

I'm still in Ohio working as a theatre pianist/piano slave. As of now, the first musical - put to bed, second one - in the works, auditions for the last one - coming up. Playing the first show, an Irving Berlin revue called The Melody Lingers On, was an ongoing project in that I was rewriting the score up until the last show. Most of the songs had crap accompaniments, and (non-jazzer that I am) I chose to write out stolen musical ideas so I could do *something* with the music. It was a lot of fun researching, actually . . . I had no idea ragtime conventions existed, for example. A few musicians I listened to:

• I Love a Piano I liked Sue Keller's version. She's got a lot of stuff on youtube that is a lot of fun to listen to, and great for stylistic ideas. I got some blues ideas from Liza's version (well, her pianists' version) of the same song.
• Change Partners - a great tune, by the way - I liked Sinatra and Jobim's take, and also this one.
• Let's Face the Music and Dance - Beegie Adair was helpful to listen to
• Let Yourself Go - Jeff Healy/Pangman and Kristen Chenoweth's version

The more I researched, the less I liked Bolcom's CD that I mentioned in an earlier post, which ultimately sounds square in comparison. For Puttin' on the Ritz I liked this one the best, although I didn't find it too helpful pianistically. Overall, the project was a fun listening and transcribing marathon for me. I made some recordings of the performances, I may post them eventually, once I lose the computing shackles. 

As for the gig, its been going beautifully. The people I work with are all incredibly talented and sane. I also like that the choreographers actually reference measure numbers when requesting music (as opposed to the "let's go from the kick-step-kick part" requests, which always elicit an internal sigh). This week I'm looking at doo-wop and funk piano. Love it.

Taking Stock

Quick summary: I'm playing for summer theatre at a playhouse in northern Ohio*. Time has blurred together and I have no idea what day it is. Since arriving we've had auditions for the first two musicals and a play (two shows left to audition). They cast the shows yesterday, and rehearsals began this morning. Our rehearsal schedule is 8:30-11:30, 1:30-4:30, 7:00-10:00, w/meals and sleep tucked in between. I've been prepping two shows, "Do Black Patent Leather Shoes Really Reflect Up?" and an Irving Berlin revue called "The Melody Lingers On."

There are different challenges with each score. Black Leather is a (partially legible) handwritten score with several rock numbers, several swung numbers, and some church music references. The large group number harmonies get confusing, so I've taken to color-coded highlighting of different voice parts for easier reading. We start the Irving Berlin this afternoon. There is no show CD (although there is a CD called "The Melody Lingers On" - that's not it), so I've researched youtube, itunes and emusic for pianists who play Berlin with the right feel. So far I've liked: Willie "The Lion" Smith's version of Alexander's Ragtime Band and William Bolcom/Joan Morris' Berlin CD Blue Skies. The score has a lot of boom-chick writing (as in quarter notes LH-RH-LH-RH), so its up to me to 'fill it in'.

I love summer programs like this - everyone is committed to what they are doing, rehearsals are focused and I get a lot of practice time when I'm not in rehearsals. Lately I've been practicing a lot of stride piano, which is getting easier (slowly) and also different scales (pentatonic, etc). Other than that, I have a 24-hour gym nearby, free room and board, and library computer privileges. More randomness: because this is Biker Week, there have been nonstop influx of men on hogs.

*There are no gay midgets named Karl.

A Summer in Ohio

Hello, folks -

Just a note to say that I may be absent for awhile (possibly until August). I'm leaving to play summer stock at the Huron Playhouse and may not have gobs of spare time. Or a computer.

Enjoy your summer :)

Second Try

I've been tinkering with the poster idea, mainly because it makes me giggle. It was inspired by this poster which I had as a teenager, and is mainly contains inside jokes for anyone who is or knows a Collaborative pianist. Anyway, this is the latest incarnation. Suggestions are appreciated.

*Disclaimer: Photos chosen randomly, will happily replace if owner requests

JRB Randomness

I played a lot of Jason Robert Brown last semester, both 'Songs for a New World' and 'The Last Five Years' (The Last Five Years was the most fun I've had doing a show). For research I watched a lot of his stuff on Youtube, and in addition to discovering I now have a huge crush on Norbert Leo Butz, I found something that made me smile. Its an old video of a teenage JRB playing and singing. If you know his stuff, you'll recognize the song they're playing, although the lyrics are different.

I've also been listening to 'Wearing someone Else's Clothes' a lot lately. I wish the score were available (I discount the anthology - its incomplete) - probably it'd be a good transcribing challenge. It's all great, but I really like the song I Could Be in Love With Someone Like You. The song was supposed to be in the Last Five Years, but it was replaced by Shiksa Goddess after his ex sued him.

He's also got a blog, if you are interested.

Hey Kids!

Get your own Bach, Beethoven and Mozart action figure!

Bach Action Figure

Beethoven Action Figure

Mozart Action Figure

You can also get Wagner. Or a Viking Helmet.

Dogs and Pastries

Switching between classical accompanying to MT and pop song accompanying is a skill that never ceases to amaze me in its complexity. It seems simple enough – both use pianistic chops, both have singers and little black dots on a page – they’re the same, right? Nope, that is like saying a great dane is the same as a great danish: they share similarities on paper, but not so much in actual life. In many ways, MT accompanying is as much a learned skill as classical, except that it isn’t really taught.

Classical collaborative pianists (or CCPs) and the military share a common belief: leave no man behind. Or in our case, leave no partner behind the barline. Our training is about being in sync with cohorts by watching for visual cues and listening for the placement of breaths, consonants and vowels. So when MT vocalists, say, ignore the written notes and rhythms of their melody line, a CCP (initially, at least) has several reactions, most of which need to be stifled. For example: say the singer is all over the place with the placement of rhythms. Your instincts are screaming to speed up, slow down or jump to the beat where the singer ought to be*. Stifle. Or the eye is following notes that are not happening. The kneejerk reaction is to be uncomfortable, judge the singer as incapable of learning music and to try and 'follow' them using the written lyrics. Stifle. It turns out that ‘together’ has a totally different definition in MT land, so we need to play accordingly.

Backphrasing and frontphrasing doesn’t exist in classical music: its a style where the singer meanders freely around either side of the beat, and it messes with CCPs’ heads. CCPs usually pause for breaths, for consonant clusters to be spat out – we are very polite that way. But the proper way to deal with a lot of MT music is to 'keep a steady beat'. It’s a learned skill that largely involves keeping track of where the singer is within the melody while not changing the beat in any way. Its exactly like military movie scenes where the soldier says "Leave me, I will only slow you down" - if you attempt to stay with them, the song just gets slower and slower** (or faster and faster). If you don't soldier on, it can make for a really slow version of “The Impossible Dream”.

Another working pianist's blog commented on her experience (italics are mine):

Do I hear the drums in my head when I play? Good question. ...no. I hear the vocal. This is great for accompanying opera and art song repertoire, which is where my academic training lies. I was taught to listen for singer's initial consonants, in order to fall right on the beginning of the vowel; for the spin of a singer's voice on a held note, in order to shape the underlying instrumental phrase accordingly. A-ha! finally I understand why I have sometimes been able to groove on pop material with singers who generate their own time, but have completely shat myself playing the exact same material with singers who are less rhythmically-solid. Groove-based stuff just involves a different type of collaboration between pianist and singer: In classical rep, it's a 50-50 kind of deal - the singer and pianist take turns being in charge of the rhythm and phrasing. In groovin' music, the vocal line can have some ebb and flow, but the underlying pulse stays totally solid. I can't ignore the singer, but I can't be tethered to their every lyric, either. I must be strong, strong like ox, strong like drums. I must hear drums.

Essentially, for people trained as I was, actively viewing the placement of vowels, breaths and consonants as ‘informative-but-not-necessarily-pivotal-to-where-the-beat-lies’ takes some effort. As for listening to a singer's voice for shaping the phrase underneath - a MT singer sounds a lot different than a classical singer (duh) and they can fake you out in a number of ways.

Then there's the 'interpretation' side of MT playing, in which you pick and choose what to play and/or leave out of the accompaniment (like the singer's part - seriously, I wish they'd stop writing the vocal line in there). A good portion of the rep is an orchestral reduction which strongly resembles a conductor's score (i.e. everything, they put in everything). The skill of 'sightreading' this music is really the ability to immediately find the basic harmonic and rhythmic feel of the song - not necessarily reading the notes on the page. Sight-analyzing is probably a more appropriate name. Great stuff.

*Well, jump to where they should be according to the written music. Which they aren’t following anyway.

**This also happens to unaware church pianists, accompanying a congregation and attempting to 'follow' them. The pitfall in listening to the congregation is the hymns inevitably become dirge.

Food for Musicians

More Wickedness

With this show, I'm focusing on two scores: the vocal selections book (VS) and the actual Piano/Vocal pit score (PV). Between the two scores and my ear, hopefully I'll come up with an arrangement that I like. My criteria for "like" is that it sounds full/orchestral, it rarely doubles the singer, and it isn't too awkward to play (in hand span, etc). Since I won't be playing this in a Broadway pit anytime soon, I will be focusing on the songs set out to be solo versions. Keys are mostly the same.

#1) No One Mourns the Wicked - I like the PV score better for this one.

• VS version RH lacks whole notes in opening four measures found in PV
• VS version LH is different than PV score in measures 5, 7 12, 14 etc, since I find BOTH LH versions akward, I like PV because it sounds more like the recording
• VS version RH sometimes "doctored" (m 4-7, for example) so that the melody is doubled more often than found in PV score - maybe trying to make the sound fuller to compensate for a soloist singing an ensemble's part? Not sure which I like better for a soloist
• VS version RH often has 3 ledger lines - PV score just puts it in bass clef (too many ledger lines = bad)
• VS version adds some music to replace all the dialogue is just m 4-10 with different words - then it modulates to C
  

#2) The Wizard and I - For this song, the two scores are 99% the same. Some chords spanning a 10th need to be altered or rolled. When they are mostly the same, I prefer the vocal selections version because it has fewer page turns and is visually much cleaner.

#3) What is This Feeling? - The duet version (VS) lacks the opening 'letter writing' bit and the ensemble echoing "Loathing, etc." Other than that the two scores are the same. Vocal selections preferred.

#4) Dancing Through Life - This song has some inconsistencies between the two scores. Prefer the PV score.

• VS version has typos in measures 17 and 19 - for some reason there are B naturals which aren't in the PV score, nor could I hear B naturals on the CD
• VS version LH measure 18 has F's instead of D's (as heard on CD)
• VS version is missing a chord on the first beat of m 23
• VS version "dancing through life, swaying and sweeping" lacks some rhythmic chords found in the PV version . . . . . . The differences go on.
  

#5) Popular

• VS version is missing the LH skipping on the eighth notes in m. 31 (I'll help you be), m. 33 (You'll hang with the) - but then they put them in on the 2nd time around . . . weird
  

Other than that - pretty much exactly the same. Prefer the vocal selections.

#6) I'm Not That Girl - exactly the same. Prefer the vocal selections.

#7) One Short Day

• VS opening and middle sections is understandably altered for a solo version
• PV score goes to 2/4 for some reason . . . VS stays in 4/4
  

Other than that - the same. I'm slightly astounded. Still prefer the vocal selections.

#8) Defying Gravity

• VS is missing the opening "Something has changed within me" bits and skips to right before Elphaba begins singing
• VS is a solo version that changes the lyrics of the middle bit (instead of 'Together we're unlimited' it says 'My future is')
  
• VS transposes the 'My future is' middle bit from A major to Gb major
• VS changes lyrics 'Just you and I. . . defying gravity' to 'Up in the sky . . . etc' and changes key from Bb minor to G# minor
• Somehow the VS ends up in the same key as the PV score
  

VS score is great, assuming the keys are OK with the singer

#9) I Couldn't Be Happier - PV score has this labeled "Thank Goodness, Part III." Other than that - the same. Prefer the vocal selections.

Will finish soon -

The Many Roles of Collaborative Pianists

*Disclaimer: Photos chosen randomly, will happily replace if owner requests

Something Wicked This Way Comes

Stephen Schwartz gets done a lot, and Wicked is still really popular (pun not intended). So I decided to sit myself down and actually learn the whole show instead of sightreading songs like "The Wizard and I" once every couple of months. After pawing through my monstrosity of a filing cabinet*, I discovered I owned several different versions of the same song. Each of the versions had varying levels of readability, so I tracked down what I deemed to be the most pianist-friendly version: Wicked, no melody line in RH. This can easily be confused with Wicked, yes melody line in RH, but they are NOT the same.

For me, my life gets a lot easier when the publisher leaves the melody out of the RH, because I can focus on what to play instead of what to leave out. MT singers generally do not want to be doubled, anyway, so I usually avoid shadowing the singer's melody.

This project will take a week or so, so I'll probably have more comments on scores as I go.


*I am a CP geek. I save most photocopied music that is handed to me.

Careers for Pianists, Pt 1A - Further expectations

Springboarding off last year's Careers for Pianists post, here are some updates for those interested in 'Staff Accompanist' positions:

From August 2009-present, the College Music Society has posted 9 full-time staff accompanist jobs.

• Susquehanna University in PA, non-tenure track
  
• Murray State University in KY, non-tenure track (and the Murray State University gig has been a revolving door for accompanists for several years now)
• University of Texas-Pan America posted two openings: one tenure track (Doctorate required) and a 3-yr renewable position (Doctorate preferred) (this gig also is a revolving door)
  
• Briar Cliff in IA, tenure-track (Doctorate preferred)
• Viterbo University in WI, non-tenure track
• Texas A&M University-Kingsville, non-tenure track (this gig also includes some class piano teaching, but I threw it into the mix)
• University of Notre Dame in IA, visiting appointment
• Arkansas State University @ Beebe, non-tenure track Instructor/Accompanist position
  

. . . and that's it. Full-time, secure staff accompanist openings are starting to seem downright mythical*. I also find it curious that the collaborative piano field has become so widely recognized, while the university collaborative pianist position (AKA staff accompanist) has remained the same (untenured, often part-time). Jut food for thought.


*Then again, this is the job market practically everywhere.

Dealing with Ideals

Ideally, audition pianists* will ask a singer, "What tempo do you take this at?" and then hear the first line sung as the vocalist likes to perform it, with a clear and steady tempo. Ideally. Realistically, however, I often deal with a student suffering from copious amounts of adrenaline. This turns the simple matter of ascertaining the correct tempo into a complete crapshoot.

Very young singers, for example, when asked about tempo, may respond with: "silence . . . (blinking)." I have also heard, "Oh, the usual tempo" and "A medium tempo, please", which is essentially the verbal equivalent of a shrug. The ''Could you sing the first line for me?" route is generally more successful, but sometimes the instruction is interpreted as "What are the first 8 pitches of your song?", which are then sung without a trace of their actual rhythmic values. Or sometimes they will rattle off their song at a breakneck speed, as if you asked "Remind me how the song goes." There's really no way to win, sometimes.

Situations like this have led me to fantasize about carrying a huge bag of metronomes among singers, handing them out like candy. The other solution I've come up with is to learn every song ever written, complete with common interpretations.

But in the meantime, I'll just deal.


*Or any pianist functioning in similar 'little-to-no-rehearsal' situations

MT-Land and You, part II

This is just further listing of other shows to check out if you haven't already, common songs in parenthesis:

Avenue Q (Purpose, There's a Fine, Fine Line)
Dreamgirls (One Night Only, And I'm Telling You I'm Not Going)
I Love You, You're Perfect, Now Change (I Will be Loved Tonight, A Stud and a Babe)
Next to Normal (Superboy and the Invisible Girl, I Miss the Mountains)
Spring Awakening (Mama Who Bore Me)
Sweet Smell of Success ( I Cannot Hear the City, One Track Mind, Rita's Tune)
Title of Show (Way Back to Then)
Urinetown (It's a Privilege to Pee, Run, Freedom, Run!, Cop Song)

Additional stuff to check out which is essentially stuff I like, not necessarily stuff that's you'll run into all the time:

• Michael John LaChiusa is just cool. Check out his Wild Party and Hello Again (I like Tom and Mistress to the Senator), Marie Christine (Way Back To Paradise and Beautiful) and the song "See What I Wanna See" from the show of the same name. Also check out Giant as soon as it's available - I saw it at Signature Theatre in 2009 and really liked it
• Ricky Ian Gordon - My Life With Albertine, Dream True
• John Bucchino - It's Only Life (Grateful, Sweet Dreams, Unexpressed, Taking the Wheel, That Smile)
• Pasek and Paul
• Craig Carnelia
  
• Heisler and Goldrich
  
• Kerrigan and Lowdermilk Unauthorized Bio of Samantha Brown, Tales of the Bad Years
• Georgia Stitt One More Day
• Peter Mills Illyria, The Flood