Paul (jointly with Braintree Choral Society, also under Ms. For the 200 th birthday of Mendelssohn and the 50 th anniversary of the Choral Art Society in 2009, the chorus performed a sold-out performance of Mendelssohn’s St. Since 2005, she has been Artistic Director and Conductor of the Choral Art Society of the South Shore. Especially notable was the 2016-17 masterworks season when the Chorale performed Vivaldi’s Magnificat and Gloria as well as Haydn’s Te Deum with chamber orchestra. Buckley has been Artistic Director and Conductor of Cape Cod Chorale since 2014, conducting repertoire ranging from Bach to Sondheim. When playing melodic lines, the main theme, subject, imitative.Artistic Director & Conductor, Danica A. The pulse should never be sacrificed for correct notes. The game plan should be to play whatever can be managed at the right time. If given music to sight-read, the accompanist's first priority is to focus on the rhythm. The pianist needs to have the ability to efficiently analyze and identify places in the music where the choir as a whole, or a specific voice part, may need assistance with pitches, maneuvering large intervallic leaps or reading challenging rhythms. The conductor and choir members are dependent on the accompanist to find notes and read rhythms when first singing through a piece. Music must be learned quickly because accompanists are either given scores shortly before rehearsals begin, or they are expected to read on the spot. One of the most important skills an accompanist must possess is the ability to sight-read.
CHORAL ACCOMPANIST PROFESSIONAL
The following is a discussion of the abilities that every successful accompanist should have in their toolbox.Ĭhoral Accompanying: Professional Multi-Tasking Sight-Reading Based on my interviews with the conductors, I compiled a list of both essential and suggested skills a choral pianist should possess. I was intrigued to hear that many value a personal relationship with the accompanist and look to the pianist as a musical colleague in the rehearsal process. Most conductors discussed technical skills and their ability to remain engaged throughout rehearsals as well as how quickly an accompanist can react to requests.
With this in mind, I ventured into the choral world to ask eight conductors in my community about their expectations of choral accompanists in rehearsals at the high school, collegiate, church and community choir levels. The abilities necessary for playing versus accompanying are similar in some regard, but ultimately are different approaches to playing the same instrument. For the student to succeed, the piano teacher can devise a plan for when and how these skills can be learned. Young pianists in high school are often recruited to accompany for their school's choirs because the conductor knows they can play the piano.
The goal of this article is to identify and address the strengths that specifically pertain to choral accompanists so piano instructors can better train students in the private piano lesson setting. Each skill set is a crucial contribution to the team's learning process and overall dynamic in rehearsal settings. (1) Effective pianists are versatile utility players because they can play many "positions" that require a variety of abilities. The choral accompanist plays a clutch role through their ability to balance both supportive and leadership responsibilities during the rehearsal process.
The choral ensemble itself can be viewed as the members of the baseball team such as infielders and outfielders. Leading the team is the coach, or in the case of the choir, the conductor. Everyone on the team has a particular role that needs to be executed for the entire group to achieve success. A choral ensemble is like a sports team, specifically a baseball team.
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