Numbering does not need to be every measure, but needs to be consistent between both the pianist’s score and the student’s score. Instrumentalists Only: Students must mark measure numbers in the pianist’s score, as well as their own.If written in the music, the translation must be marked neatly or typed in the copy of the score below each corresponding word. Singers Only: Students must provide a copy of the translation (word for word) with the music.Prior to giving music to the pianist, students must write all metronome markings, measure numbers (instrumentalists), cuts, ritards, etc.Students must ensure that the pianist’s copy is neat, clear, and complete.Original scores will be returned to the student at or before the first rehearsal.

Paper copies may be given to the music office to be placed in the accompanist’s box. The pianist has a right to refuse to play the performance if this timeline is not observed. Rehearsals will be scheduled a minimum of one week in advance. It is the responsibility of the student to set up rehearsals.Students preparing a junior or senior recital may request/receive additional time as agreed upon by the pianist, applied faculty, and student. If students choose not to use their time with the accompanist in a particular week, they may not bank this time for a later date. Students may work 30 minutes per week with their accompanist.Rehearsals are booked a minimum of one week in advance. Recital *After submitting the form, please wait for confirmation from the accompanist before booking a rehearsal time. Student Recital/Short Performance Jr./Sr. Alec is a student at the Royal College of Music studying for a Bachelor of Music Degree. Anyone familiar with the franchise should now have a decent understanding of musical radar and for those still struggling, a quote from the Jedi Yoda should help, 'for my ally is the Force and a powerful ally it is.' Wise words for any accompanists.īy Alec Coles-Aldridge. The closest comparison to musical radar can be found a long time ago in a galaxy far, far away, the Force from Star Wars. Whilst musical radar is difficult to define empirically, its existence as the cornerstone for accompanying is undeniable. This musical radar is what allows accompanists to predict how a particular entry will sound based on the soloist's breath, or to find an instantaneous solution to a verse being skipped.Ĭlearly, the answer to the question of what makes a good accompanist and the answer to what makes accompanying so difficult is the same: musical radar. Perhaps these two qualities, sensitivity and flexibility, can be given the over-arching title of musical radar, a term used by Vignoles is his description of the telepathic nature of accompanying. Throughout this mine-field of un-rehearsed events, the accompanist must stay calm and adapt to how the performance unfolds. Memorised music can disappear, tempos suddenly increase dramatically and unexpected breathes appear. With nerves, adrenaline and a multitude of other factors at play when a performance occurs, anything can happen. They must be supremely attentive listeners, able to detect any tempo changes and adapt their playing to suit.įlexibility is another critical quality. It is sensitivity that is the specialism of the accompanist. However, they are common ground across all musical disciplines.

Of course, the basic musical elements apply steady tempo, observation of the key signature and fluency in performance. With the plea for greater recognition now complete, the attention can turn to what makes the role of accompanist so demanding, and to what a good accompanist actually is. When the performance is complete, the soldier returns home and their actions are largely forgotten in the midst of the larger political landscape, likewise, the accompanist returns home whilst the glories are showered on the soloist. Whilst the solider is constantly rehearsing different tactical scenarios, the accompanist learns their music inside-out. Their work is underappreciated and overlooked but absolutely essential. Indeed, it would be no exaggeration to state that accompanists have a similar existence to military special forces units. Well, there's a great deal more to it than that'. Moore moved on to declare that 'people think he's there just to do what he's told, to follow the singer through thick and thin. The lyrics touch on the thankless world of the accompanist, a world that Gerald Moore, another renowned British accompanist, concluded, barely 'notices the accompanist at all'. Vignoles immortalised these words in his composition The Battle Hymn of the Accompanist, a short piece of music reflecting on the life of an accompanist.

These are the words of Roger Vignoles, the renowned British accompanist who has worked with musicians ranging from Kiri Te Kanawa to Thomas Allen. 'You may think this job sucks, when they get all the bucks, forget their lines, transpose and jump from page to page.'