Accompanists, a Question Regarding Rythym (Bloke Wins)

MartyNeilan · Post by **MartyNeilan** » Fri Feb 24, 2006 9:34 pm

Well, I would handle the 3/8 vs 2/4 thing like this - subdivide eighth notes and count the first measure in 3 and the second measure in 4. If the piece was being conducted, the conductor would probably give one long beat (50% longer) to the 3/8 measure and two regular beats to the 2/4 measure. Remember, unless otherwise notated the eighth note will stay the same. If the accompanist has running eighth notes, there is no way she will be able to make both measures take the same amount of time without her slowing down and speeding up constantly.
If you ever get to play some Holsinger, you will get to do lots of this kind of stuff. Always subdivide and keep the subdivided pulse steady unless the composer states otherwise.

adam0408 · Post by **adam0408** » Fri Feb 24, 2006 10:49 pm

I feel your pain. I have had more problems with accompanists than I care to mention. My policy now and in the future is going to be: If I don't feel comfortable performing with my accompanist, then I won't perform with that person, and I will fire them. I no longer feel obligated to help a poor accompanist along as they butcher my music and make my life terribly stressful.

A word to the wise for the future: MAKE SURE IN ADVANCE YOUR ACCOMPANIST CAN PLAY THE MUSIC. This means giving him or her the music well in advance of your first rehearsal. At that first rehearsal, he or she must be able to play it at least as well as you can, or else its out the door for them. Don't settle for someone you arent comfortable with!!!!!!!!!

I had some very sub par performances in my past due to accompanist issues, and its just simply not worth it. You go through all the work of getting something to sound good and then end up being dragged down by a piano player.

If you find a good accompanist, then pay that person WELL and treat them with respect and honor. Accompaniment is a truly great art that not a great many are capable of pulling off well.

MartyNeilan · Post by **MartyNeilan** » Fri Feb 24, 2006 10:53 pm

"Bloke wins"

hmm... I thought we pretty much said the same thing....

windshieldbug · Post by **windshieldbug** » Fri Feb 24, 2006 11:38 pm

Actually, when I was in school, I played a tuba alone piece in a student recital. A piano major who roomed in the same house that I did convinced me to have him listed in the program as accompanist, anyway. He dressed up in tails, and accompanied me onto the stage. Then, as I played, he stood on the stage and watched. When I was finished, we both took bows.

Ah, those student recitals...

windshieldbug · Post by **windshieldbug** » Fri Feb 24, 2006 11:59 pm

Amen!

Albertibass · Post by **Albertibass** » Sat Feb 25, 2006 3:38 pm

yeah my accompanist is cool. No problems. cool ----> like Joe Cool ------->

jmh3412 · Post by **jmh3412** » Sat Feb 25, 2006 7:20 pm

While I sympathise with all of the problems mentioned, here as a joint keyboard /tuba player, I must also stand up for the accompanist.

While we find it difficult enough playing the Vaughan Williams and other such repertoire, the accompanist has to contend with thousands more notes, often in an unidiomatic style, and in keys that are far from ideal for keyboard players.

In addition to this accomompaning bass soloists presents certain textural and balance poroblems which also need to be handled sensitively.

In essence, as others have said, accompanying is a definite skill and one which should be justifiably well rewarded. The amount of work undertaken by a good accompanist will almost always be similar if not greater to the work that the soloist puts in.

A good accompanist will not only support confident performances and suggest new nuances to the music but will also be responsive enough to react when things go pear shaped!

Technical pianists do not necessarily always make good accompanists, but good musicians invariably do.