Accompaniment.. any hints and tips for a beginner?

[kghayesh]

I am accompanying a friend who plays the flute this week. She gave me the music and I sight read it, it's not that hard but the fact is I haven't played music that is not solo before ! So, I am skeptical about the rhythm issue and how to keep it going without any mistakes and without getting lost!

So, does anyone have any hints and tips in accompaniment ??

[m19834]

If you get the sketch out that is good -- don't get too bogged down trying to play every note on the page (it's better to get the sketch and be attentive to the soloist's needs than to get every note and leave the soloist out there on a ledge).  It is better to keep *something* going rather than letting there be silence (if it were ever a situation).  Definitely listen to the soloist and be mindful of the breath points, during those times you will need to breathe with them.  You can help them with your own breath, too, by cuing them at their entrances.  The soloist, if they have listened to the accompaniment (or have learned it) may be depending on particular parts from you to cue them, so if you cut anything out, make sure it's not her cue point.  As an accompanist, your main job is to support the soloist as much as possible (a good accompanist will do this).  Most of what I have already said is based on that. 

As far as tempo goes, that is a tricky thing.  There is always a little give and take in music.  When you are playing with an instrument that is dependent on breathing, how fast or slow a person takes the music is a matter of musical life or death for the soloist.  A good soloist will know that s/he needs to set tempos up for/with you, but an insensitive accompanist will not pay attention to what's happening to the soloist with regard to the tempos that have been set up.  If you can tell she is dying because it's too slow or too fast, you can help her by fluctuating the tempo a bit to help her get a grip. 

Ideally you would know the solo line very well and be able to anticipate in your head what will come next for her and for you.  Either you know how to sightread so well that you know you won't be concerned about your part, or you will want to practice enough so that you know you will be able to pay attention to your friend's needs in the moment.

Okay, I think that is a pretty high bar !  I have been very fortunate to work with some wonderful accompanists.  Those who do it for a living would have a lot more to say than what I have said -- what they do is simply *amazing* !   

And a secret : Your official job is to follow, but your unofficial job is to lead.

[jlh]

Just a few tips for ya...

Don't worry about mistakes if that will make you lose your place.

Realize that if you cannot play all the notes in time, just try and keep the bass rhythm going if it's appropriate.

Always listen to the solo and watch the gestures she makes for cues for when to proceed and when to hold back (such as breaths).  Let the soloist have control, but remain there ready to push forward.

Flutes are all treble, so if you're playing up in that range, don't compete with the flute for sonic space, but bring out the bass a bit more instead.

[Essyne]

I love what josh has to say about bringing out the base a little more . . . when I'm singing (because I'm a soprano), that is the thing that really "grounds" my sound - the same when I play high woodwind - we LOVE the BASS!!!

what karli said was great, too - (Your "official" and "unofficial" jobs - like that!)

Just remember that the soloist is 100% grateful that you're there! You are enhancing her performance tremendously!

[gerry]

As was mentioned earlier regarding accompanying instruments that require breathing - especially the flute - make mental or physical notes during your rehearsals where the performer has to breathe and give them a micro-moment to do this. Depending on the performers skill level, this may or may not be where a pianist would expect as regards to phrasing.

[jlh]

As was mentioned earlier regarding accompanying instruments that require breathing - especially the flute - make mental or physical notes during your rehearsals where the performer has to breathe and give them a micro-moment to do this. Depending on the performers skill level, this may or may not be where a pianist would expect as regards to phrasing.

Write it in the score.  Don't try to make mental notes.

[timothy42b]

I am accompanying a friend who plays the flute this week. She gave me the music and I sight read it, it's not that hard but the fact is I haven't played music that is not solo before ! So, I am skeptical about the rhythm issue and how to keep it going without any mistakes and without getting lost!

So, does anyone have any hints and tips in accompaniment ??

Can you play with a metronome?

That is the first step, and one that many do not take.

When you play solo you do not have to adjust your timing to anyone or anything else.  Playing with someone means you both adjust to each other, but accompanying a soloist usually means you have to adjust to them, and pianists are notoriously bad at it.

when you play with a metronome, you must adjust to it.  True, it is steady and predictable, but the focus is still on an external adjustment which is what you need. 

[Bob]

The accompanist's job is to make the soloist look good.  They're right, even when they're wrong.

Learn your part.  Learn their part.  Then be able to play your part and sing/hum their part.

Ask or watch how they will cue you in, if that's an issue at the beginning.

Ask how they want to you provide a tuning note.  Some want just a note.  Others want a chord with it or more notes.


Make sure you learn your part.  It depends on the situation for accompanying.  Some things -- school, church, less important performances -- you don't have to play it as written.  Others you do.  If the soloist doesn't know what they're doing, you can take more liberties, but they probably expect you to play what's written.

But sometimes the soloist doesn't know how to cue and things like that.  A head nod, a breath in time.  Nonverbals like that give you the info you need. 

Make sure you can see them during the performance.    Duh, yes, but still important.  And if the soloist doesn't understand that, then make sure they know.

Some accompaniment is background.  Other pieces are more like a duet.  Don't be afraid to play out when it's your turn in that case.


Sounds like playing in an ensemble may be an issue.  Tap your foot.  Nod your head.  Be able to show the beat like that.  Not that you will use it, but you might want to have that for rehearsal. 

You also tape record.  Tape the solo yourself, then practice with that.  Tape yourself taping out the beat as you follow the score and practice with that.


Flutes might want a Bb or F to tune to.


If you're not secure with it, ask for more rehearsals.  You can get the tempo issues down more then.


And it's not the most important thing in your life.  It may be for the soloist, but not for you.  Just be aware of where it fits into your priorities.  If you're doing solo stuff too, don't let that suffer.  It's always a balancing act though.


It's also possible just to play your part, with a steady beat, and let the soloist fit into that.  If the piece generally has a steady beat throughout, it's not that big of a deal to sync things up.


Work out the pay ahead of time.  And the schedule.  When is the performance?  How many rehearsals, where, and when?  What do you wear?  Do they get a page turner or do you?  Make sure the page turner can read music.


The beat is the most important thing though.  After practicing with them a few times, you'll figure it out.  If it's a concern, just try to meet sooner rather than later.


Ah.  I see it's this week.  Just meet and work things out.  Do whatever you need to do.  For some "less important" music I just sit down and read through it and "fix" whatever the first time around.  By fix, I mean simplify or rearrange.  So that the second time I play through it, it goes smoothly, no problems.  Usually, that's simplifying things to a certain level.  That way I start engraining it the second time I look at it.  If I make it easy enough, I have plenty of attention left over to pay attention to other things, like the soloist. 


Practicing starting the piece a few times.  Practice the transitions and rit's, etc.  Anything were you have to communicate.  You don't have to run through the whole piece very much.  Maybe twice in a rehearsal.  If that. 

Once things are solid, make sure you're playing the same style.  Copy the soloist phrasing, articulation, etc., so things are more consistant throughout.


For beat concerns, just make sure you can see the soloist out of the corner of your eye.  If you're off, they should be cuing you a little.  They should be helping you out too.  They can do things that make your job a lot easier or a lot more difficult. 

And when the performance is done, compliment them and tell them you enjoyed doing it and they played well, etc.  Even if they didn't.  It's just professional.

And you make sure you're learning something the whole time.  Regardless of the performer's level, there is always something new you can pick up from them.

[gerry]

Write it in the score.  Don't try to make mental notes.

I believe I said mental or physical notes

[pianochick93]

Flutes might want a Bb or F to tune to.

A is the most steady I believe, or that's what my flute teacher says. Personally I prefer a Bb, but when we tune in band and stuff, it's always an A.

[jlh]

A is the most steady I believe, or that's what my flute teacher says. Personally I prefer a Bb, but when we tune in band and stuff, it's always an A.

In addition, when you're accompanying someone, it helps to give that note, and then a context in which they can tune.  For example, you may have heard an accompanist give an A440 and follow that with a D-minor chord in second inversion while holding the original A.  It seems to be easier to tune that way.

[Bob]

Yes, just check with whatever note the soloist wants.  Woodwinds do like A's, yes.  Sometimes it's whatever has the least holes covered, covering all the holes, or covering holes up to each joint -- like tuning each joint of a clarinet.

Sometimes the soloist doesn't know how to tune or can't tell sharp and flat. 

Sometimes they want that chord too.  Minor chords too.  Someone told me it's supposed to be easier to hear.  Whatever the soloist wants though.  It's their show, and their responsibility for their tuning, and they tune to you.

[gerry]

One really great perk of accompanying is that you get to sit in on the performers' lessons. If they're studying with a great teacher you can pick up lots of free coaching along the way. I once accompanied a singer (Schubert Winterreise) who was studying with a vocal coach who had been Ezio Pinza's  accompanist for 18 years, also Jan Peerce, Eileen Farrell, etc. What I learned working with him was priceless (plus I got paid!!).

[dan101]

Have a good bass and harmonic support for your flute soloist. Rhythm is essential. Make sure you listen to and keep up with your soloists tempo... that includes ritardandos and all other tempo changes.

Good luck.