[Mrs]

Hello to everybody,
could anyone give me a clue of how much accompanists charge in average for their work and what does the "exam fee" means? Is it a fixed sum?
Thank you in advance.

[Gill the Piano]

In my experience, different accompanists charge different fees for different exams. There, that was helpful, wasn't it? What I mean is that I'd charge a different (lesser) fee for accompanying a Grade I violinist than I would a Grade VIII simply because the pieces for Grade VIII are so much longer and more involved, and more rehearsal and practice time would be required. Roughly speaking I charge ten quid for a very elastic half an hour (some half-hours have lasted sixty minutes!) run-through, often with some aural tests thrown in if necessary, and fifteen for attending the exam. However, if I have to attend the same exam centre on the same day for more than one session (and the sessions are close together) then I'd make a reduction in that fee. But then I only do it occasionally - a full-time professional accompanist would probably have a different (more efficient?!) system. As I said, the rates vary enormously around the country and I'd ask your child's teacher whom they would recommend, and what they think you should pay.
The examination fee is what you pay to the Associated Board (or whichever board your child is taking) for the privilege of having sleepless nights on behalf of your sprog - it's different to the accompanist's fee. Think of it as the fee you pay to take your driving test.

[Mrs]

Thank you!

[bulgar]

Hi everyone,

I have an audition in a few days for accompanist for choir . I am an experienced pianist but have never played with a choir before . Could anyone give me an idea what to expect , suppose I have to play sight reading but what difficulty really have no idea and that make me nervous .Will be grateful for some advice. Thanks

[Gill the Piano]

Accompanists are like hen's teeth; YOU should be auditioning THEM!
Sometimes they like you to be able to play open score stuff (ie music written on separate staves for each voice rather than closed score, as they are in a hymn book). But if you can't do this (and I can't do it very well, but still play for a choir) then they will probably still be glad to have you. It's worth practising for, anyway.
Other than that, the ability to sight-read is a huge bonus, because choir leaders often have brilliant ( ) last minute ideas and present you with stuff AT the rehearsal rather than beforehand.
Good luck!

[bulgar]

[Samick]

I have been both an accompanist and a Conductor for a number of Choirs and Opera Groups, so can speak with experience from "both sides of the fence" so to speak!

The main thing any Conductor is looking for from an accompanist is someone who can follow a beat! I have had some fantastic pianists who have come along to play for me, and play absolutely brilliantly. BUT... lots of them have been useless as an accompanist, as they just are not with you! They end up being more of a hinderance than a help. It takes you twice as long to get the Singers to come with you if they are constantly being "pulled" in a different direction by an accompanist "on the run"!

So my advice is.....watch the conductor as much as possible, and remember that one of the most important skills required is to know what to leave out...i.e better to leave out or "simplify" an accompaniment and keep going with the conductor rather than try to play every note on the page, but at your speed rather than everyone elses - it's not a piano solo! Good Luck!

[markymark]

Unless you are playing for a choir at a very sophisticated style and level, I really couldn't imagine many sung pieces being beyond Grade VII at the very most. For an adult choir, Grade V or VI would be the general bench mark for the required level of playing from accompanists. Fellowship (FLCM, FTCL, FRAM, etc.) candidates are expected to sight read Grade VIII level music as part of their final examinations and even then, slight errors are to be expected. As Samick says, consistency and interpretation (i.e. taking your lead from the conductor of course) is important, but also your ability to go with the flow; flexibility I suppose I'm getting at. There's nothing worse than having an accompanist that would rather be the conductor!

[Gill the Piano]