- #Accompanist vs collaborative pianist how to
- #Accompanist vs collaborative pianist skin
- #Accompanist vs collaborative pianist series
And while the "piano part" is often technically easier than most solo music, it's at least as hard to do a really good job with, because subtleties of tone suddenly matter so much more on every note. It is the accompanist's responsibility to read the entire score (most other musicians get away with just reading their own part) and often to coach other musicians involved. From everything I've seen in life so far, accompanists are some of the hardest working people in showbiz, playing through more music and dealing with more personalities than any other type of musician. "It does not entail a quarter the strain of solo work." I think that's pretty funny.
Well, the article isn't THAT bad overall, but the bad parts are TERRIBLE.
#Accompanist vs collaborative pianist skin
sadly, it is more exciting to pick out the ones that make people's skin burn than to present a balanced assessment. there are many aspects of the article that you have agreed with in your own blog over the years. it may be dated, but much of it strikes me as still true. I read the whole article, and i'm struck by how relevant the advice is. people appreciate all the parts that make the concert come together. i'm always struck at popular concerts at how loud the audience applauds for the band- for the 30 seconds they are acknowledged. that's how the entertainment industry works. but i think there is something to be said that the singer does get the most notice, the biggest fee, and is in the spotlight. i'm completely necessary! nobody wants to hear an accapella singer for 90 minutes. I'm not saying i agree whole-heartedly with the self-obliteration and secondary thing. being able to see the score does make me SO much more calm. i'm not memorizing whole pieces, just passages as needed. "it doesn't involve the strain," well, most of the piano parts i play are not as difficult as the rachmaninov concerto, although i certainly have played some really difficult pieces, but MOST aren't. take a listen to dieskau/horowitz dichterliebe if you want to hear two people who are brilliant musicians but not interested in making music together. well, if i want that job, i'll move forward at that moment, convincingly with him or her. maybe i think a phrase should pull back, but the singer moves forward on it. i do alter my playing to suit the person i'm performing with. i'm playing right along with the singer as s/he sings it. i think that's because i am doing a good job, i don't think of that as a slight.įurther, when i'm performing at my best, i really feel like i am wrapped up in my singer's sound. even my mother tells me to this day that she can't help but pay attention to the singer when she sees me perform. i must say, i've never thought of it that way, and i can't help but agree. his reply was: if we are in the spotlight, then we are taking away from the person on whom the focus should be- the singer who is delivering the text.
#Accompanist vs collaborative pianist series
I am currently conducting a series of interviews with some of my collaborative colleagues and i asked one of them why scholarship hasn't paid more attention to the accompanist. The accompaniment that thrusts its presence at an audience is invariably bad.Ī good accompanist is soon discovered, especially if she has that wonderful feeling of sympathy and self-obliteration, that is as welcome as water in the desert to singers.for many singers are thankful to practise out of hours with a sympathetic assistant.What a distance the profession has come in 100 years. For her art lies in the utter subjection of herself to her principal. The perfect accompanist - of whom England numbers very few - is an artist who gains little credit from any save those who know. The accompaniment of a song or instrumental number is, after all, a secondary thing but it needs perfection in its execution or it becomes unbearable.
It does not entail a quarter the strain of solo work it does not need the big memorising feats expected from a pianist proper and it gives nervous workers a feeling of security.Īn accompanist, once she takes her place at the piano, is working not for herself, but for somebody else and the whole of her mind and ability has to be concentrated on the person whom she is accompanying. To many girls the work of an accompanist appeals in several ways. The most egregious passages are quoted below - readers on mobile devices may wish to sit down before reading:
#Accompanist vs collaborative pianist how to
Ever wonder about the exact nature of the accompanist stereotype that caused pianists from Gerald Moore onwards to react so violently to the traditional image of the meek and docile assistant at the piano? A quick look at the entry on How To Become An Accompanist in the 1910-12 Everywoman's Encyclopaedia offers a rather disquieting glimpse.
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