When is the last time you performed something without using the pedal? That’s right, no pedal at all.
As it happens, I did exactly that on Sunday night. I was thinking about that while driving home, trying to remember the last time I’d omitted all pedal. There was one occasion several years ago.
Christ & Saint Stephen’s in midtown Manhattan features a dome above the altar area. A baritone I played for had included “Why do the nations rage” from Messiah on his recital program. The piano reduction, 16th note tremelos, sounded like what you might call a bloody mess! The singer’s girlfriend, a professional cellist, attended the dress rehearsal, for which I shall always be grateful. She suggested that I play 8th notes at first, but even that sounded too muddy for audience consumption. Then she suggested playing quarter note chords, no tremolo at all, without any pedal. Amazingly enough, that worked.
Prior to that experience, the only time I played without pedal was probably in college, when playing Baroque music. At the time, I was a die-hard original sound freak, or preferred to come as close as possible given that I was playing a piano rather than a harpsichord. That certainly meant that the pedal was not to be used at all.
Since college, I have discovered that using the pedal on every note of a continuo bass line (i.e. quarter notes) enhances the sound without blurring it. But it must be used judiciously! Just tap it. The idea is to allow the strings to vibrate without making the sound last longer. You will hear the sound become rounder, closer to cello pizzicato.
Sunday night’s concert venue was a large church with high, valuted ceilings. The reverberation time was at least 4 seconds. We performed Copland’s “The Promise of Living” with a large group of combined choruses. The version on our program featured a piano four-hands accompaniment.
Both of us arrived at the piano, sat down and looked at each other. Whose score would we use? After we solved that question, my fellow pianist said, “Do you want to pedal?” I said, “Go for it!” He was playing the secondo part. The pedal would be easier for him to reach. In addition, he would be playing the part with the harmonic rhythm.
Soon after, we heard how live the acoustics were in the space. The piano was some distance away from the singers. We decided not to use the pedal at all, in order to provide as much clarity as possible.
I’m happy to say it worked! A professional singer, who sang an aria during the program, was sitting in the audience during the Copland. She and I were talking afterwards, when she said she heard clarity, and it sounded as if we had pedaled.
Have you ever performed with no pedal?
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Collaborative pianists need all the same technical skills required of soloists, and some would argue that they need to be able to play mezzo forte and under.
My immediate reaction was, “Wait a minute!” Let’s look more closely.
Collaboration is working with others to do a task and to achieve shared goals. It is a recursive[1] process where two or more people or organizationswork together to realize shared goals, (this is more than the intersection of common goals seen in co-operative ventures, but a deep, collective determination to reach an identical objective[by whom?][original research?]) — for example, an endeavor[2][3] that is creative in nature[4]—by sharing knowledge, learning and building consensus. Most collaboration requires leadership, although the form of leadership can be social within a decentralized and egalitarian group.[5] In particular, teams that work collaboratively can obtain greater resources, recognition and reward when facing competition for finite resources.[6] Collaboration is also present in opposing goals exhibiting the notion of adversarial collaboration, though this is not a common case for using the word.
(Note: color and bolding added by GS for emphasis.)
Breaking it down
This implies much more than the prevailing misconception, by now outdated, concerning collaborative piano playing. Even after more than 50 years of the progress begun by Gerald Moore and further championed by Gwendolyn Koldofsky and others, a significant number of pianists continue to subscribe to the habit of just showing up without practicing.
An additional component of this view seems to be a desire to stay out of the way!
I strongly disagree with this idea. If one’s sole interest is not to be heard, then why show up at all? (Gerald Moore’s humorous book, “Am I too Loud?” was first published in 1962!)
The author of the book quoted above says, “some would argue that they need to be able to play mezzo forte and under.” If one is to interpret this as a recommendation to play mf and under at all times, I have to ask, “Why?”
The music
The piano part/reduction is part of the total fabric of sound. It is crucial to have a point of view about the music which is expressed primarily by the manner in which one plays.
Even when playing for very young musicians, the bass line can be prominent. They need the support. An obligato line above or below the singers’ range should be heard. Introductions, interludes, and postludes are shaping the piece, not interfering. The rhythm should be clear and compelling, providing a foundation for inexperienced musicians. Why are we there? How are we supporting a young musician’s efforts if we may as well not be in the room at all? Do we not have a responsibility to be there?
In other situations, with more experienced singers and instrumentalists (who produce more sound), the solo line is not always the most interesting. Think of Beethoven’s “Spring” sonata (violin/piano), for example:
The violinist clearly has the theme throughout the opening statement. And then, in the 2nd system, 4th bar, the piano has thematic material, marked crescendo, proceeding without pause into a restatement of the same theme. Since the piano part is occupying a higher range at that point, it will be heard.
Note that the violin and piano parts are both marked piano, even though each plays thematic as well as non-thematic music. The equal dynamic markings would imply that both parts are to be heard. Why would the piano part be less important/played at a lower dynamic than the violin?
We have another example in Händel’s “Care selve” from Atalanta:
In this aria, the vocal and piano lines are beautifully interwoven. Listen to the incomparable Montserrat Caballé and her superb pianist, who should have been credited on YouTube! What do you hear? Is the pianist voicing his part? The bass line is always there, the melody is clear when echoing the singer, and the interludes fill the room.
A heads up: prepare to be floored!
Teatro Real de Madrid, 1979
When learning Handel’s “Sweet Bird,” I listened to several recordings so I could learn more about ornamentation. Roberta Peters’ performance with a flutist was stunning. They opted to do only the exposition (one page), then added two more pages of a duet. Their sounds blended perfectly, with the most amazing trills. I was in awe listening to the ensemble’s perfectly matched sound, ornaments rhythmically free (rather than using regular note values, the performers, who were often trilling in 3rds, used slower notes, then faster, then added a turn). I listened to the recording over and over, mesmerized.
Point of view
When I was a scholarship student at the Aspen Music Festival, the Juilliard String Quartet was in residence all summer. Their open rehearsals were attended by singers of all voice types and interests, and students who played a variety of instruments. Why were so many students attending, week in and week out? The quartet talked about the music. During one rehearsal, a disagreement continued for several minutes. The cross-rhythms in Brahms needed clarification among the players.
One instance in which cross-rhythms are found is in 6/8 time, when the notes can be divided into groups of 2 or 3. When there is one more than one part, both groupings can happen simultaneously.
In this memorable rehearsal, each player was staking a claim to the way he wanted to play a section containing cross-rhythms. The violist opted for one rhythmic grouping; the cellist another. When the 2nd violinist chose a larger note grouping, the 1st violinist decided, “I’ll just fit in.”
At that moment (it didn’t take long!), the other three players ganged up on him. “No! You have to make up your mind!”
The rehearsal had just become more… interesting, as the quartet’s cellist Joel Krosnick would say.
The decision was made, and the quartet tried it out. Each player was doing something different! It was wonderful.
What would have happened had everyone opted to “Just fit in?” How compelling can that be?
I submit that staying out of the way is not music, and it certainly is not collaboration. If you have nothing worth saying, why play at all? If you can’t be heard, what’s the point? What contribution does that make? How is that supportive?
Bottom line
In order to collaborate as pianists, we need to ask for the music in advance (and obtain it!), practice well, and have a point of view about the music. In rehearsals, our point of view may change. Collaboration means hearing what the other musicians have to say. An interpretation reached by sharing ideas is what collaboration aims to achieve.
To reiterate the definition provided above, when we collaborate, we:
…work together to realize shared goals [in] … a deep, collective determination to reach an identical objective…
What does “collaboration” mean to you? How did you arrive at your conclusions?
Comments welcome!
Check back for my next post, PianoAnd: Children’s voices
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Please take a look at my e-book!
“Goal-oriented Practice” Are you practicing well? What do you do when you hit a snag? How do you help your students practice?
Do you have a plan for putting difficult pieces together at performance tempo? How do you help your students achieve a steady tempo without slowing down in difficult passages?
This book will help you take a step back, save practice time, learn more music, and perform with confidence. Whether teaching, playing solo, or collaborating with other musicians, you will find many useful suggestions here.
50% off!!! Absolutely NO JARGON! Even my non-musician little sister says so.
Click on the link to see the book intro, table of contents, reviews, and reader comments.
What did you find here? What would you like to see? Comments welcome!
If this post has been helpful and you think your friends and contacts would benefit from reading it, please share.
As collaborative pianists, we can feel confident about balance without depending on someone else to assess the situation.
Relying on someone who is listening from the house is iffy ~ 3 different people will give you 3 different opinions! Depending on which instrument a person plays, s/he will hear differently.
Following a recent concert, two audience members came backstage ~ one a string player, the other a pianist. One said the piano was too loud. The other? Just right. I didn’t think it could have been both at the same time, so there’s your third opinion. (The music director told me it was great.)
Performing with many different instruments and voice types has helped me figure out what’s what. Playing in a number of halls has also provided the opportunity to find out what works.
Be aware that curtains, wall hangings, carpets, seat cushions and clothing all absorb sound. Beyond that, the sound changes a great deal from an empty house to one with an audience.
Balance in general
When the piano is behind the other performer, that performer will be facing the audience. That means that their sound is headed away from you. If you can hear them, you aren’t too loud.
The lid
Many people, upon seeing the lid at full stick, will tell you the piano will be too loud even without hearing it first. Actually, having the lid open results in a clear piano sound which is easier to hear and adjust.
Several musicians with whom I have coached insist on using full stick.
Sometimes I do use 1/2 stick. I also have a “piano block.” It’s just a piece of wood, about 6″ x 4″ by 2″, painted black. In churches, especially, the block is useful. It can be set between the lid and the frame three different ways, opening the lid to any one of three dimensions. And it makes the use of a bible or a hymnal unnecessary. (Members of the congregation often find that to be sacriligious. If you want to be invited back, don’t do it!)
Voicing
Range matters. When playing for flute, for example, treble sounds in the piano compete. Treble instruments and voices need less piano treble and more piano bass.
With cello, the range can be low bass or in the middle of the bass clef. Pianists need to be sure the cello is heard, and adjust the piano’s voicing accordingly.
One exception to both of the above would be when the piano has the melody or a counter-melody. When the other instrument has the accompanying part, the piano is more prominent.
When the piano has a fugue subject or counter-subject, the two instruments should match.
The Debussy Cello Sonata is another great exception. When both instruments match articulation and volume, the result is stunning! It becomes impossible to hear which instrument is which. Incredible.
Recording
It can be helpful to record dress rehearsals and concerts for our own information. I find that it’s important to listen for a comprehensive take on the sound. But the playing takes precedence, so if I start to become obsessive about the recording, I turn off the machine.
When to ask
The “system” may break down in unusual situations.
When a hall is exceptionally live, you will want to ask whether the sound is clear. You may need to adjust your pedaling and find a slower tempo.
If you have a bad cold that affects your hearing, feedback can be reassuring.
So listen to what’s going on in every situation. Process the feedback you get from others, including those on stage and in the audience. Take what helps, and put the rest “under consideration.” To gain more experience, playing in master classes is invaluable. Play for them whenever you can.
How do you assess balance in collaborative situations? Please share your thoughts in the comment section below!
Very often, musicians pride themselves on being able to remember everything. Some even see it as a personal failing if they forget.
But what’s the point?
There is no reason not to mark the score. Requiring oneself to remember everything does nothing to enhance a performance. And the audience can’t see your music, anyway.
When someone expects to remember unmarked instructions and then forgets something, that slows down the rehearsal both for her/him and for everyone else.
One example: marking the score can help a singer find an elusive pitch. I circle a pitch in another voice part that I have trouble finding in my own part later. By marking my pitch earlier as well as the one I need to sing, I can blast the pitch in my brain, ignoring everything else.
Marking the score moves the eye along to facilitate reading.
repeated bars can be marked with big numbers
the next bar (leaving the repetition) can be circled
the one pitch that’s different in otherwise identical phrases can be circled
a fingering that is missed several times can be rewritten larger
the first note on a staff/page can be written at the end of the previous staff/page
when the number of staves per page changes, an arrow can go in the left margin next to your part
mark repeats, coda, dal segno, and other markings you need to see quickly
when a repeat requires turning back more than one page, write in the number
circle any meter or key changes you need to, and write in an advance alert
Marking the score for collaborative work:
mark singers’ breaths in the piano part where you can see them
writea word-for-word translation in the music above the singer’s line
a wavy line works for anything that takes more time to sing or play (i.e., a word beginning with several consonants, a string player’s shift)
Marking the score for pit orchestra:
Normal pit lighting is terrible. During one run, I found that I couldn’t see my penciled markings on a hand-written part. There were several errors and huge cuts, so finding a way to make a road map was crucial.
During the dress rehearsal, I noticed a trumpet player’s part. She had marked the cuts withneonstick-on arrows. So I bought some and did the same.
Don’t be shy ~ you need to know where to look in the music!
One exception: keeping written notes about something that will change frequently, such as metronome markings when you are increasing the tempo of a piece. Those numbers will be changed so often, they are better recorded in a practice log. Frequent erasures in printed scores make holes in the paper.
You will find more about keeping a practice log in my new E-book.
So, what score-marking tricks do you use? Please share your ideas and experiences in the comment section below!
34 shows down, 2 to go. I’m still practicing the show every day.
Why?
I have to.
Thursday’s events may provide some useful details. I, for one, will revisit this post the next time I hear myself saying, “How am I going to do this?”
Background
On Sunday, in addition to being exhausted, I woke up with a sore throat. Very sore. Played the show (no understudies), then came home and crashed. My attempts to sleep it off on Monday, Tuesday, and Wednesday (all days off this week) were unsuccessful. In fact, beginning yesterday (Friday), my ears became blocked. (Playing with blocked ears is a whole new experience….) Also, with all that time spent sleeping, I skipped going out and practicing, too.
Thursday
Throat still sore, congestion, coughing. Slept as late as possible, showered, ate breakfast.
Then I practiced for the first time since Sunday. At this point there was an hour available.
My fingers felt like putty! Missing an octave and playing a seventh instead especially freaked me out. I couldn’t feel the interval measurement in my hand. (Remember, this is after 32 shows. I think I know it by now!)
Still feeling unready, I left for the theater.
Once there, I practiced for an additional 35 minutes, ignoring the cast backstage. Antisocial? Yes. But my job includes helping people feel comfortable on stage.
In order to be available, you can’t be uncomfortable with your own part.
Outcome
Even though I wasn’t feeling well, I played the show the best ever.
Inspiration
Sitting on the music rack of my piano is a review from The New York Times of May 12. Prominently mentioned is “… the work of some of the professionals in the … orchestra, particularly in a crucial cello solo near the end, tortured at considerable length….”
Yikes! I have no intention of going there.
This show has played 5 or 6 times/week, with Mondays and Tuesdays off. How in the world do Broadway actors and musicians do this all the time, with 8 shows/week and only Mondays off?
With thanks to C.I. for encouraging me to blog about this topic during the show’s run.
Questions? Comments? Please use the comment section below!
Recently I’ve played for two violinists. They are more than 20 years apart in age and experience. Can you tell which is which?
There are several situations that occur frequently when two musicians collaborate. I have had very different reactions to each of these musicians. For example:
Phone and Email
Violinist A
rarely responds
avoids answering many crucial issues
no communication between concerts
Violinist B
responds quickly and with clarity
addresses all issues
Conversation
Violinist A
interrupts constantly
always talks about self
Violinist B
engaging conversationalist
includes everyone
Travel
Violinist A
remains aloof from travel companions
creates distractions: makes cell phone calls; turns up radio
Violinist B
fun to travel with
Musical Preparation
Violinist A
none
changes program to accommodate lack of prep:
drastically slows tempo
cuts cadenzas
changes program, even if that means repeating the same music in the same venue (“They won’t remember.”)
Violinist B
music learned before first rehearsal
improves between rehearsals and during each one as well
music memorized before performance
Backstage
Violinist A
goes off into a corner
practices loudly and furiously, making a show of learning the music
Violinist B
a little nervous ~ in other words, fine
interested in rehearsing a little with piano
By now you get the idea.
One of these violinists makes a living as a musician, the other is a high school student. Can you tell which is which?
Thanks for voting in the poll!
The correct answer is #2. Violinist A is the “pro,” Violinist B is the high school student.
Comments are still open! What were your thoughts when reading this post?
The most important factor I can think of is this: it’s about the music.
Everymusician I know collaborates with others at least occasionally.
Flexibility is very important here. A violinist needs to be willing and able to play 2nd violin in a quartet, beautifully. A singer should be able to switch voice parts. You may find yourself conducting a rehearsal.
To succeed in any rehearsal, you must listen to what is going on in the room and adjust accordingly. Learning all the parts is very helpful. The Juilliard Quartet rehearses from open score for a reason.
Accepting other people’s ideas can move the rehearsal along and result in a better performance.
Contribute your insights, too! You may have reason to advocate for a different tempo or volume level. You can help by cueing another musician’s difficult entrance.
Between rehearsals, pay attention to communication. Emails and phone calls need to be returned. Don’t make people wait for you. They have schedules, too.
Converse. Don’t dominate.
Respect other people, even when you gain nothing directly.
Ideally, we learn good collaborative skills as children. Factors may include:
parental involvement
finding the best teacher available
enrolling in a prep program
going to music camp
attending concerts
discussing what you heard
good relationships with other musicians
practice!
My childhood included very little from the above list. So I worked hard to make up for the void, and got it together later.
I was thrilled that a high school student was comfortable giving me comments in rehearsal. When I was that age, I assumed that anyone older must be right at all times. Of course, that didn’t help me progress.
In summary,collaboration is not about superiority or criticism. It is about working together and reaching a consensus. Without that, no collaboration exists.
What is your experience with collaboration? Please comment!
The ethics of rehearsing and performing can be complicated. Each situation is different! That’s what makes collaboration so challenging, and interesting as well.
I’ve encountered various levels of ethical behavior in the many musicians I’ve performed with. I wanted to provide some examples of what works and what doesn’t.
A Wonderful Example
Jennifer Larmore was one of my classmates at Westminster Choir College. She was stunning every time she sang, even then. So I was fascinated by a later broadcast of an oratorio where she was the mezzo-soprano soloist.
On performance day, the soprano soloist wasn’t so great. Perhaps she was ill ~ there was no way to tell.
When Jennifer and the soprano soloist had a duet, the soprano had significant problems with longer phrases. And her voice would certainly have been overwhelmed, had Jennifer not been exceptionally aware of the situation and considerate of her colleague.
As it happened, Jennifer listened intently, always balancing the soprano perfectly. And when the soprano ended her phrases prematurely, Jennifer ended exactly with her, tapering beautifully and sounding like that was her original intent.
I’m sure you’ve heard duets that were out of sync. It takes a superb artist to make this work when the match is so obviously unequal.
Later in the performance, Jennifer had an opportunity to sing as well as she always does. Her sound was gorgeous and full, and she could enjoy sustaining long phrases. What a pleasure to hear her.
Unacceptable Behavior
Have you ever accepted a performance only to get a call about a “better deal?” What did you do?
I think it is vital to your credibility to keep your original commitment. If you explain the situation to the “better” presenters, they will call you again. But if you bail out of your first commitment, your decision affects the presenters (who have already done publicity, mailed brochures, sold tickets, etc.), the audience members (who choose concerts based on the brochure), and the other performers involved in the concert. One thing is certain: you won’t be asked back.
Unethical Behavior
♥ I once overheard a violinist at a music festival talking to a cellist in the trio they were assigned to. The violinist told the cellist very directly that he hated his playing! I was appalled.
This was a temporary situation, lasting only for a week or two. First of all, telling someone you don’t like their playing is often heard personally. You don’t like the player. Artists are their art. It is very difficult to separate the two. And secondly, people can always find a way to work together for the duration of one concert.
♥ On another occasion, my trio was about to walk onstage for a performance. The house manager had already dimmed the lights, which was our signal. No problem, right? Except that the violinist wasn’t there!
I found him in an electrical equipment room, away from the stage. So we entered late for our own concert. That, to my mind, is unacceptable.
Thoughts on How to Keep it Ethical
A comment from Martin Katz comes to mind: If a singer is not adding ornaments, then you should accommodate her/him by not adding ornaments, either. It’s not your job to upstage anyone.
If you need a day or two to think about a possible commitment, then say so! Presenters I have spoken with are happy as long as you provide a clear date when you can get back to them. But don’t keep them waiting for weeks. They get ticked off, and you could very easily lose the concert.
Knowing What to Accept
♥ Most important: know your strengths.
Include in this list skills you could learn quickly. For example, if you are a pianist, learning to play synthesizer would most likely be easy. But harpsichord? Organ? Fortepiano?
You may be asked to do any of the following:
improvise
play from figured bass
play chorus parts
play from open score (no piano reduction)
transpose an instrumental solo (i.e., viola) while also reading chorus parts
play from a lead sheet
play jazz, gospel, blues, or soul
conduct
lead a sectional rehearsal
transpose an entire piece
make up an intro, interlude, or postlude
add a descant
add ornaments
and other skills that haven’t occurred to me yet!
Do you know a variety of styles? Can you play by ear? Do you need to have the music written out?
Okay, you get the idea. Now answer the phone! Then show up well-prepared and early.
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