![]() ![]() You Must Understand the Other Musician’s Music Plus Your Own Remember, you are not the centerpiece of this performance it’s your job to frame the vocalist or instrumentalist’s performance. Talk about phrasing and cut-offs to ensure you are feeling them together. ![]() Determine the initial tempo and temp changes throughout the piece. Ask the soloist where they’re breathing so you can mark it in your score. To successfully perform with other musicians, communication is key. We’ve all heard piano soloists push and pull the tempo to dramatic effect, but if you accompany a vocalist that way, you’ll never get hired again. Once you’ve familiarized yourself with enough vocal and instrumental repertoire you realize you’re not sight reading after all. Be sure to sight read accompaniments and to become familiar with well-known vocal/instrumental pieces. Pick a different genre or format each time. Play a few accompaniments from a book of Italian love songs. Open your favorite book of Chopin Nocturnes and play one you haven’t worked on yet. Incorporating sight reading into your everyday piano practise conditions your brain and fingers to read and play unfamiliar notes. Sight reading is a developed skill, just like anything else in music. Being able to read and “learn” music in a short amount of time will make you indispensable and get you hired. It gives you the ability to utilize the valuable time you have with the soloist or group you are working with.Īnother reason sight reading is a valuable asset to accompanists is that you are going to run into situations where your skill-set is needed at the last minute. When an accompanist is able to read and play unfamiliar music with relative ease there is much more freedom in practice sessions. Sight reading is something that musicians either love or hate, and whether your relationship with sight reading is friendly or combative, as a collaborative pianist, you must become proficient. Good Piano Accompanists Must Be Excellent Sight Readers Keep these tips in mind if you’re interested in pursuing a career (or a few gigs here and there) as a collaborative pianist, and of course, if you would like expert piano lessons in London at the London Piano Centre, we would love to hear from you. Regardless of the genre or setting, there are useful skills to be learned through accompanying. And the styles could vary from classical to pop. You may work with solo vocalists or instrumental groups. If previous contact with academic staff from the Conservatorium is relevant, this may be indicated as well.Experience matters for pianists, and one great money-making way of getting experience is accompanying or collaborative piano work. ![]() The referees need to be available for further consultation if needed. two written references from professional (performing) musicians of standing that are not more than six months old and which comment directly on accompanying experience and capacity.Dates of the performances should be provided. web-based, video recorded material demonstrating a professional level of concert accompaniment (at least 45 minutes in total) in at least three areas from the following: strings, woodwind, brass, voice or chamber music.Please include name, email and phone contact information. a detailed CV outlining qualifications, experience and a sample repertoire list demonstrating the range and level of repertoire in an accompanying role as well as a list of appropriate performances over the last three years. ![]() Instead, prepare the following application materials: Students are required to use accompanists from the Conservatorium's list of approved accompanists.Ġ410 403 to become an approved accompanistĭo not contact members of staff directly regarding your application. List of approved conservatorium accompanists (PCME) NOTE: Payment for any rehearsals in excess of the allocated hours indicated above, or for an accompanist not listed on the Conservatorium's list of approved accompanists, are the responsibility of the student. Graduate Research Recitals receive accompanist allowance of up to 4 hours of rehearsal time PLUS the relevant examination time) Master of Music (Research) in Music Performance One hour per studentīachelor of Music / Diploma in Music (Practical) for a Bachelor of Music student enrolled in MUSI10221 Practical Music 2, the allowance would cover up to 1 hour and 40 minutes for rehearsal, and 20 minutes for the required examination time, for a total of 2 hours. Maximum accompanist allowance times are listed below and are inclusive of both rehearsal AND performance times (with the exception of RHD Master of Music recitals) eg. Practical Examination Accompanist Allowance These allowances are available within the following degrees The Melbourne Conservatorium of Music provides students with an accompanist allowance to rehearse and perform with an approved accompanist in performance classes and practical examinations. ![]()
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