I'm a very amateur player of 'classic songs', Cole Porter, Gershwin etc, using mainly ear but some sheet music. I've always just played solo, basically playing the tunes. Now an acquaintance has asked me to accompany her. She's a classically trained singer who wants to try her hand at popular songs. We've had two or three tryouts, and although sometimes we don't sound too bad, the problem from my point of view is that I find myself competing with her because I'm so used to playing the melody line. I feel that with a bit of practice I could learn to do a bit better on the harmony rather than the melody line, but the problem is that it's very difficult to practice by oneself. I wonder if there are any aids for this that people know about. The only thing I can think of is for a record of someone singing with no accompaniment, although it's not clear that this would work. Any hints would be appreciated.

It's very difficult to practice with recorded voice because there needs to instantanious interaction between accompaniest and singer.

Without sheet music you as accompaniest will need to improvise.

Play a short intro to establish key and tempo, then pause and wait for the singer to start. During the vocalized sections the singer controls the tempo. Play chords or arpeggios over the vocal notes, and at the end of a vocal phrase, a little improv. to lead the singer into the next line.

A good practice is to try singing while accompanying yourself.

Please take a look at Doug McKenzie's videos.

http://www.youtube.com/watch?v=pUphKjhUyto

There are many accompanying a singer.

have fun!

Hi,

+1 to Joe's comments and suggestions. Playing any kind of duet or ensemble is very different from playing against a metronome and feels much more like a conversation. You develop a feel and instinct for all the small nuances and variations that characterise the other perfomer(s). It's not always easy to pin down in miliseconds, or whatever, but it makes all the difference between a computer generated midi file and a live performance. Plus, of course, you need to leave space for each other.

If you don't trust your own singing for practice purposes, then you might be able to work out between the two of you what the barest minimum would be - perhaps just a starting pitch , some foot tapping, and some indications of the basic chord progression. In other words, instead of working from the top down and trying to strip out 'her' melody (which might be awkward if you're well used to playing it another way) then build from the bottom up instead. A singer should be OK with something as simple as just a bass line built on the root note of each chord, or an outline of the chord progression, or anything on up from there.

If you record that, so that you have a bare outline that includes her voice, and then perhaps you could play it back and work on fleshing out an appropriate and fuller arrangement when she's not around.

Just an off the top of the head idea anway.

Chris

Start by listening to some good accompanists work with singers - for my money, Ralph Sharon (Tony Bennett’s pianist) was the best in the business - Bill Evans also recorded with Tony - and Oscar Peterson with Ella Fitzgerald are also outstanding. All have their different approaches to the task but generally speaking – let the singer have the melody line – you have everything else. Personally, I think in terms of trade-offs, when the melody gets busy, the accompanist backs-off and visa-versa. During the open spaces (my fill-ins) I try to come up with little phrases that lead the vocalist to the starting note of their next phrase. I also try to add as much dissonance as I can to the voicings but not so much so as to conflict with the singer – e.g. if the singer is holding a 9th, don’t play a b9th chord. But mainly, listen and talk with your vocalist and ask their opinion.

I've had lots of experience accompanying many singers and instrumentalists.

In your case, remind yourself that you're not the center of attention (sadly :p ) - she's the one with the voice. So, a whole buncha of licks and too much decor WHILE she's singing kind of defeats the purpose... make sure you keep it simple. In between her singing, put some notes in there - it fills up the dead air.

A key part of accompanying is keeping a good listening ear to the singer. For instance, if there is a ritard at the end of the piece, keep close attention to her lips or breathing or something that will give you a direction, so that you can follow her to the end.

go get a job in a church.. any church. you'll learn alot.

play with a metronome.

play along with recordings.

practice page turns

Very interesting! I've seen many singers accompanied by fine pianists who basically stayed in the background and just facilitated the singer's performance. Long before I started to play piano myself, I always thought it was both classy and appropriate for the singer to acknowledge the accompanist, and for the latter to take a bow as well.

Has anyone ever seen a piano performance in which the pianist predominated, with a singer providing vocal accompaniment? It's hard for me to imagine, but apparently a few compositions like this have actually been written. Maybe there's a reason why they seem to be obscure!

Ah, indeed, but note that you said *they stayed in the background*. I would say there is a line between facilitating the singer's performance, and just playing whatever you seem to hear sounds good.

If there is a good structure - such as harmony, or echoing what the soloist is singing - then that is accompanying. But, if you fail to hear what the soloist is putting forth, and you only concentrate on what you're playing as an accompanist - then it becomes too much.

memorize the chord chart and learn the chord ranges.... it would surely help you eliminate your "melody playings"... but don't worry, you can still play the melodies while playing the chords.... if you already mastered the chords, well... you would be a master accompanist... am sure you would love playing songs from the song hits just like you're just playing a guitar....

Many thanks to all for the suggestions. Lots to think about. We just had another session and I tried hard to follow the advice about concentrating on the chords and following her cues. I don't understand brain function, but when I play the melody the chord structure seems reasonably clear, and as soon as I cut out the melody the chord structure disappears too. Maybe I need to practice! Hmmm...

Hi guys...

Zacc, could I suggest that you 'sing' the melody in your head?...I think it is a handful to manage, if you are the sole accompanist (that is if you are)...having to cover the bass line, rhythm sections, comping...and ad-libs as well...

It works with me, especially when I'm playing medium swings and samba songs...its just so difficult to put everything together, and yet, provide the groove...probably having the melody in your head would help you and give room to your singer to play her role as well...

Just a suggestion...

[/qb][/QUOTE}Has anyone ever seen a piano performance in which the pianist predominated, with a singer providing vocal accompaniment? It's hard for me to imagine, but apparently a few compositions like this have actually been written. Maybe there's a reason why they seem to be obscure! [/QB][/QUOTE]
Bobby McFerrin with Chick Corea.

Interesting, Bobby actually says on that album "My accompanist and I" talking about Chick. (please hold your applause). Fun album

I was hoping to hear some tips on playing accompaniment to your own vocal.

Any tips would be appreciated, Plan on using lead sheet music and or fake chord. Sing the melody and provide harmony with chords.

Thinking about basic block chords with each hand. Any comments or sites you could recommend.

Thanks,

Malcolm

I think in some ways it would be easier to accompany your self than another because you have a single mind, instead of having to anticipate what the singer will do. Also you can practice by your self.

The style of accompaniment is a matter of taste and dependendent on the particular song being performed. I can give you an example of how I accompany myself on Georgia

Joe, when did you and Willie work on that one?

That is where I want to be --- one of these days. Thanks for sharing.

There are several DVD lessons on accompanyment, any you would recommend?

Malcolm

Thanks Malcolm: Everyone tells me I sound like Willie, but it's my natural voice.

I haven't looked at any lessons on the subject. I learned by years of being a church pianist, and then after that playing in several country bands.

You just have to learn the chords of the song and improvise. Remember the vocalist sings the melody and the accompanyist enhances the soloist's performance with chords and fills. Listen a lot to songs you like and to what the accompaniment is doing.

It takes a long time. All my piano teacher taught me was how to read notes from the sheet music. I had to learn to play by ear on my own.

Good luck with your studies and if I can ever be of help contact me.

Willie with a dash of Roger Miller..King of the Road..

I have done a lot of accompanying - and not always well:-) It takes as much practise as anything else - and you need to do it with the singer. If they are good you can just play chords and some ornamentation - if not, you will need to play in a bit of melody now and again to help them pitch. The most important rule is mentioned above - they must lead.

I think the best way to become an accompanist is to accompany someone, regularly, if possible.

You've gotten various bits of pretty good advice, but nothing will focus your efforts, give you a feel for what works and what doesn't work, and even allay your fears as well as actual experience.

If someone wants to sing with you, do it.

It takes practice to be a good accompanist. You must always listen, listen, listen. Remember that you support and the person you're accompanying, whether it be an instrumentalist or a vocalist, always takes precedence.

Using sheet music helps sometimes because you can see the melody, if you have it, and omit it. Or you can play just chords and do some fill-ins. Try singing songs and just blocking chords underneath to get a feel for both hands playing accompaniment, as a way to practice.