The Contest Accompanist

Abstract

I HAVE before me a very challenging letter from a lady in Mississippi, which says in part: Do you mind making some statements or giving some suggestions that would assist band directors in having better accompaniments? So many times the band director puts all his time on the solo and expects a perfect performance when the does not match it in quality. This lady has indeed brought up one of the most pertinent points regarding our competition-festival activities. I shall attempt herewith to make some observations on the subject. These observations will be based on actual experiences, over a period of ten years, in district, state, and national adjudication activities. I take it from the statement quoted above that the letter writer is in accord with my thinking; namely, that the is as much a part of the performance, as a whole, as is the solo part itself. This, I feel, is the crux of the whole difficulty, as in too many instances, the matter of the accompaniment is an afterthought rather than a problem of equal consideration in the preparation for an audition. The instrumental or vocal soloist should NEVER be handicapped by inferior accompanying which may be caused by any of the following: (a) The domineering accompanist. (b) The inexperienced accompanist. (c) The immature accompanist. (d) The indifferent accompanist. (e) The lack of coordinated effort. (f) The improper selection of music. Let us discuss in detail each of the above listed student soloist handicaps. The Domineering Accompanist is usually the band director (or other teacher) who, in his efforts to make the work musically finished, and who, knowing the student's weaknesses, leads the soloist, and the interpretation becomes identified with the teacher rather than placing the responsibility on the student himself. The Inexperienced Accompanist is usually a fellow student, perhaps a lastminute pinch hitter, who presents a distinct disadvantage in trying to keep up with the moving composition. The Immature Accompanist is usually also a fellow student who may be able to play' all of the notes, but because of his youth and lack of experience, fails to give the opus its fullest meaning. (This is especially true in the performances of brass instrument solos with their traditionally speeded up interludes which should be played as solos in themselves.) The Indifferent Accompanist is one who has all the necessary musical and technical abilities, but to whom the ART of accompanying is an inferior one, and a task that is beneath his dignity. Unfortunately, this type is usually a member of the faculty whose talents are limited to private teaching and/or public solo performance. Lack of Coordinated Effort occurs when the accompanist, selected at the last minute-who-even though he may possess many fine points as a pianisthas not had the opportunity of carefully working out details with the soloist. As professional performers in our own rights, we ,who teach these student soloists are fully aware of the necessity d ? Qf tL n 9 fl a L ISiA u L C