Expectations for an Accompanist
Date: Sat, 25 Jul 1998 14:50:03 +0000
From: Bob Griffith
Subject: Choral Accompanist Comp--long
Thanks to the 36 "listers" who responded with their excellent ideas
on "Qualities Expected in a Choral Accompanist".
Almost all respondents listed one or more of the following general,
fundamental requirements:
technical competence on the keyboard instrument
knowledge of both the accompaniment and choral parts
knowledge of performance practice in all styles relevant to the
repertoire being rehearsed/performed
ability to play all combinations of vocal parts together
should be a good sight reader
ability to follow the conductor... always deferring to the conductor's
wishes
disagree with conductor only in private
should anticipate ("mind reader") a conductor's instructions
alert at all times to choristers' needs
general flexibility
To conserve space in this compilation, however, those kinds of basic
comments (above) -- have been left out of most individual responses
noted below.
With that in mind, hopefully you will enjoy the following summary of
responses on the topic . . .
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. . . "Qualities Expected in a Choral Accompanist"
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Mark Tuning - conductor:
1) Flexibility. 2) Listens for ensemble with the choir.
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Gary Weidenaar- conductor- choral singer - accompanist:
1) Breathe, phrase, and play like a singer.
2) Knowing when to come out and when to hold back.
3) Feeling of fusion with the singers, conductor to become a part of
the [ensemble].
4) Do not play notes or other parts without being asked.
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Christine A. Hoffman - conductor - choral singer - accompanist
1) suppress own interpretation... follow conductor's wishes.
2) "breathe" (in the largest sense) with the chorus.
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Kirin Nielsen - conductor - choral singer - student
1) Knowledge of the scoring of the original accompaniment, if it is not
for keyboard
2) Ability to reduce full instrumental accompaniment
3) Ability to transpose (within reason)
4) Skills in foreign languages and in vocal coaching, if necessary
5) Knowing how to lead a sectional rehearsal
6) Experience playing organ and harpsichord well
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Stan Yoder - conductor:
1) Precise sight reading is first in importance
2) Left hand accuracy is extremely important
3) Patience and helpful attitude with choristers
4) An understanding of the vocal instrument
5) Dependability in prompt attendance
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Tony Mowrer - conductor - singer - conducting teacher:
1) First, a good musician, not just a pianist
2) Ability to stay with the conductor
3) Be able to anticipate what the conductor will do... Listen to the
choir while playing to understand why the conductor stopped.
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Bruce MacIntyre - conductor
1) Listen to what's being sung -- to adjust to changes in tempo,
balance, acoustics, etc.
2) Good taste ... knowledge of various styles. (For example, knowing how
much/little pedaling to use at the piano for accompaniments of various
style periods.
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David McCormick - conductor and accompanist.
(a) Anticipating: (1) the likely trouble spots for the choir, (2)
how to help them in those places.
(b) Dealings with Conductor:
(1) Think as an "extension" of the conductor, knowing (in
rehearsal!) when to recede into the background and perhaps drop away
completely to leave the singers on their own, when to play in octaves so
the part can really be heard, when to drop the "easy" parts and
concentrate on the tenor and alto lines if they are having trouble.
(2) Knowing how much initiative in such matters the conductor
will allow, encourage, tolerate. (Discuss these and other
issues/differences privately.)
(c) In performance must know the difference between support for the
singers and an independent part for the piano which is equal to the
chorus.
(d) In many instances the accompanist is a better musician than the
conductor, and ought to be paid well!
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Lynette Johnson - choral singer
Effective choral accompanists must:
1) Understand the singers needs . . . including:
a. reinforcement of individual vocal lines as needed
(IF the director wants this).
b. give starting pitches slowly.
2) Understand that the DIRECTOR is running the rehearsal and his/her
authority or expertise should never be
questioned in front of the choir.
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Susan Marrier
Sensitivity to the choral line;
Willingness to collaborate with the conductor but also to subordinate
his/her own interpretation when necessary!
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Kevin Sutton - Conductor
1. Alertness in the rehearsal. I should seldom have to tell the pianist
where we are starting.
2. Punctuality, dependability, and a good sense of humor!
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Mary Lycan - I'm a conductor.
My splendid accompanist is:
1) a fine musician whose interpretation lifts up the musical level of
the chorus.
2) solid on reading any combination of voices at any time.
3) apparently telepathic--she finds her place instantly. Even when I
say the wrong thing, she knows to do what I mean instead of what I say.
In short, she is not one more person to teach the music, but a real
musical partner, a peer.
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Susan Mueller conductor - occasional accompanist
1. A good accompanist must be very alert: must hear the same things
the conductor does, even noticing where the conductors eyes turn at a
stop so she can be prepared with pitches for the next segment of
rehearsal.
2. This same alertness to the small gestures of the conductor or the
slight changes in a singer's vocal production indicating a tempo change
makes the accompanist a good follower.
3. Understand that sometimes a choir (never the conductor!) has to be
led.
4. Know and understand the weaknesses of the ensemble. The simple
matter of playing the tenor part just a little louder or accenting that
B flat the altos keep missing saves hours in rehearsal time nobody even
knows about.
5. Phrasing with the choir, or soloist, is a must. Therefore the
accompanist must mentally sing everything she plays.
6. But I think the #1 quality of a great accompanist is
selflessness... always putting the choir or soloist first, even to the
point of making it appear that the soloist's mistakes were actually
his.
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Terry Sanford - At one point or another... conductor, accompanist,
student,
1. Sublimate your own musical ideas and follow someone else's.
Everything else follows from this.
2. Ability to keep a steady rhythm.
3. Ability to transpose up or down at least a third on sight.
4. Confident enough technique to play everything, yet knowing what to
leave out.
5. An agreeable confident personality even in the face of high -- even
unreasonable and conflicting-- expectations from conductors, singers.
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Mark Nabholz - conductor
1. Think with me in rehearsal - arrive at a rehearsal point at the same
instant I do.
2. Play accurately - especially when "pounding parts".
One mistake while helping the tenors learn their part (for instance) can
take five or six accurate playings to undo.
=========================
Monica J. Hubbard"
I am grateful for a choral accompanist who:
1. is a superb "collaborative" keyboard artist
2. has the ability to hear problems with singers as they're occurring
and thus the ability to unobtrusively lend support from the keyboard
3. knows how and when to give pitches and/or lend keyboard support RE
the style of the music and in a manner that keeps the rehearsal moving
forward smoothly
4. And, of course, we're all blessed when we have a keyboard
collaborative artist who is also a coach and can assist with languages,
sectionals, etc.
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BEN LEGETT - conductor/singer
Qualities should include:
1. Musicianship
2. Experience as a choral singer
3. Improvisation skills
4. Personal: strong sense of responsibility for the success of the
performance; sense of humor; commitment to the organization
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Bruce Phelps - conductor and accompanist
Assuming that technical abilities are in place, here are two important
considerations:
1. Be able to think with the conductor to anticipate trouble spots,
starting spots, pitches to give, etc.
2. Be versatile -- handle a wide variety of styles.
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Martha Springstead - choral director and accompanist
ability to follow the conductor.
I prefer my accompanists to be excellent sight-readers, as my teacher
highlighted that as the most important quality of any accompanist.
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Charles E. Ruzicka
1. a solid sense of rhythm
2. should take direction well - both verbal and visual
3. must understand that accompanist does not imply "soloist"
CONDUCTOR-ACCOMPANIST thoughts:
1. NEVER take the accompanist for granted; a smile and a "thank you"
at the end of the rehearsal is always proper.
2. Allow ample time for the accompanist to prepare the music.
3. [Set up] conductor and accompanist rehearsals (prior to presenting
music to the choir) to help eliminate surprises.
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Ruth Becker - conductor, accompanist
1. [Anticipate] the conductor for nuances, phrasing, etc. and be
extremely sensitive to the dynamics, energy, rhythm, etc. of the piece.
2. Always acquiesce to the conductor and know how to follow. Be
sensitive to the rehearsal techniques of the conductor so as to enhance,
rather than compete in the rehearsal process.
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Bob Meyer - conductor, occasional accompanist
watchfulness (of the conductor) - be able to look up!!
attentiveness during rehearsal to follow what's going on; BE THERE
when the director needs a notes punched, etc.
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Ryc Williamson - conductor
track rehearsal to predict where the conductor will start next & have
starting pitches ready.
a soft touch for rehearsing "pianissimo".
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Tony Funk
In my experience the best quality I'd look for (after being a superb
accompanist) is personality. If we don't jive, music making becomes a
drag.
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Scott Campbell - conductor, professional singer
Most important qualities of an accompanist:
musical sensitivity
ability to adapt / improvise - when the score hits the floor, the
lights go out, and the singers skip two pages!
reliability
ability to play almost anything and to realize what helps singers
- see #1.
having an amenable personality - not cantankerous- saint-like!
ability to play "by ear" can be invaluable
Next you should compile a list of what conductors need for
accompanists!!! If we all were to realize good accompanists are more
important than good directors and treat them accordingly, there might
not be a shortage!!
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Marc Ferguson - conductor, accompanist, and choral singer.
1) Be a support for the conductor verbally affirm him/her
privately and to the ensemble. Give input when requested.
2) Get to know the ensemble personnel. Often they can give input or
suggestions to the accompanist when they aren't comfortable doing so to
the conductor.
3) Be on the lookout for repertoire to assist director in finding
pieces that would suit the ensemble.
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Tom Lumb - choral singer
You do not specify whether you want to hear the qualities required
of a rehearsal or performance accompanist. I will refer to both
situations
(R or P):
A high level of musicianship (R and P, but esp P);
Knowing the strengths and weaknesses of both the director and the
choir (R);
A good ear and the ability to pick the intonation and rhythm problems
even before the musical director does - and then emphasize the correct
versions, sometimes just for one part (R);
Patience, and the willingness to repeat the same couple of bars, ad
infinitum (R);
To be available to help with sectionals outside the scheduled
rehearsals - especially for us tenors! (R);
An ability to walk on water might help, too. - I'm sure ours can!
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Robert Fullerton
Three qualities come to mind almost instantly.
1) excellent sight-reading skills, particularly open scores.
2) willingness to suffer boredom. Some rehearsals are tedious,
repetitive. Boring, but essential.
3) sacrifice his/her artistic interpretation to that of the director.
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Susan Noble
First... I was a choral singer for more than 40 years, starting with
my first church choir at about age 7. Nothing infuriates me more than
an accompanist who doesn't "track" the conductor. The accompanist must
know where the conductor is likely to go after a stop and also the
ability to "anticipate" and be ready to start anew promptly.
Second after that, a sensitivity to the music. Rehearsal accompanying
is not merely a matter of providing the notes (although of course
sometimes that is a component), nor of creating a "generalized" version
of what may well be an organ or orchestral accompaniment -- it must be
music with its own merits.
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Jean Smith
1. I think the single most important quality in a choral accompanist
is the ability to follow the director regardless of what the director
does.
2. The second most important quality in a choral accompanist is the
ability to learn new music accurately and quickly. It is much easier to
teach a choir new music when the accompaniment is played correctly.
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Andrea Bird - student, choral singer
Our [college choir] accompanist is like a mother to the choir. If
anyone goofs off, she gives this look, and that is the end of the
goofing off. I don't know if being a disciplinarian is part of being a
good accompanist- that's just part of her charming personality.
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Craig Hawkins - conductor, accompanist
I think THE most important qualities in an accompanist are:
1) the ability to take direction/constructive criticism
2) the ability to follow the director. Some qualities I assume are
already there, such as musicianship, technique, etc.
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Sarah Meredith - accompanist and conductor
an open mind--especially if your personal interpretation differs from
the conductor
a quick mind--being able to think with and even ahead of the conductor
for rehearsals
flexibility--especially with nonprofessionals, concerts can be very
different from rehearsals, and accompanists sometimes have to "cover"
for the choir and its soloists
true love for choral music--it's not just a job, it's an adventure,
and you gotta love it or it can be painful!
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Robert Miller - conductor
1. The accompanist should not attempt to overshadow the director. If
he/she has conflicting ideas these should be discussed before the
rehearsal.
2. Come prepared to play each piece as written.
3. Be attentive to the directors instructions. Stop promptly when
directed by the director etc..
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Diane Loomer - conductor
keyboard fluency: (a) all keys (b) play by ear in all keys (c) be
able to read anything
understand style and interpretation of historical periods
Helpful hints: 1. when in doubt - leave it out 2. be at the
keyboard early 3. grow two more eyes and two more ears 4. develop
some basic conducting skills 5. be prepared to run a rehearsal - even
from the keyboard
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Terre Johnson
Hi, Bob,
You might wish to check my Dissertation from Florida State
University, 1993, on Competencies of the College Choral Accompanist. It
was a survey driven project which sought responses from the groups you
identify, then combines their responses in a hierarchical list of
competencies. Check under my full name, Terrence Alan Johnson.
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If you would like to receive an unabridged hard copy of the entire
text (several pages) of the responses, please send me a self-addressed,
envelope and $1.00 (US) to cover the postage and paper. Or, upon
request, I'll e-mail it to you privately.
Bob Griffith
Dept of Music
The University of Memphis
Memphis, TN 38152
discnews(a)midsouth.rr.com
901-684-1649
901-684-6660 fax
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1. Consider yourself the right-hand man (or woman) to the conductor. His wish is your command. You may have your ideas and understandings of the way things ought to be, but he's the boss. Follow him like a hawk, and attempt to bring out HIS meaningfulness in the phrases.
2. Get to know the weaknesses of the different parts. You will then know, when playing parts, which voice to play stronger. Also, become familiar with their musical tendencies, and attempt to complement that in your playing.
3. Along the lines of playing parts: When playing a single part, it is many times difficult to hear the voice line on the piano, especially if there are many on that part. Play the voice line in two octaves--the true octave and the one above it. Naturally, you must always respect phrasing and rhythms...OBEY THE RESTS!!!
4. You are the orchestra that accompanies the choir. Play as such. Don't fiddle-faddle with the piano. It is a marvelous instrument when used properly. Let the trumpets ring out, let the violins be expressive, the contrabass steady, and the reeds flowing (no pun intended).
5. I am a semiprofessional singer and choir/orchestra director, and have studied accompaniment and sacred piano since I was 6. The one thing that I have learned through the years is that the difference between a good choir and a great choir is the accompanist. Don't take your position lightly. I don't say you CAN make a difference; I say you ARE the difference.
Christian Lindsey
Musical Director of La Agrupaci