Improving (learning?) piano accompaniment

[Jose EB5AGV]

Oh well, sometimes things like this happen!. I have just been offered by my piano teacher a lot of gigs (about 45 in total), beginning with 9 in June. Just a singer and me. A singer who I have never met (he has played along her, but he is an accomplished pianist). And a repertoire of 50+ pop/rock songs, which I know about 70% but have played just about 30%, and all on a pop/rock band context, not alone with a singer.

 

I honestly feel I am far to be ready for something like that, and have declined. But, honestly, one of my playing aims, along playing on a band as I do, is to do that kind of gigs. Even just me singing along (if those just for friends/family, I am not that great singer 😅)

 

But I don't know how to work on this so, please, could you share some hints, useful videos, whatever you think may help?

 

Thanks!

 

Jose

[stoken6]

Accompaniment is about listening. Let yourself be guided - in tempo, dynamics and emotion. 

 

I haven't got any concrete/practical advice, because my accompanying skills were honed during my teenage years. My first gigs were accompanying my mother, who is a singing teacher and coach. So I learned on the job, I never studied.

 

Cheers, Mike.

[mcgoo]

Being the MD at a church and then by default having weekly opportunities to accompany non-pro volunteer singers has taught me a lot about accompaniment. Listening is everything. Watching body language goes a long way too. If a singer is about to come in a measure early, you won't be surprised if you're watching them, and you can adjust what you're playing. Nobody in the room (including the singer) will know anything was wrong. I live by the idea that the singer is always right, even when they're wrong. 

 

Another few thoughts: inexperienced singers will tend to rush. An easy way to pull them back is to start pulsing chords in quarter notes. If they're not great at emoting, you can lead them with dynamics... Get really big as you're going into a chorus and they will too.

 

Experienced singers, by contrast, need a lot less hand holding. Let them dictate tempo, key and dynamics. Stay out of their way musically, and support them any way you can. 

 

Lastly, keep it simple. It's all about the song and the singer. Make them shine, everyone will love them and they will love you! 

[JamPro]

1) Go ahead and meet with the singer.  Prepare three songs to do with the singer.  Try it out and see what happens.  Maybe the singer doesn't like your playing; maybe you don't like the singing; maybe something else is off; and maybe you and the singer enjoy making music together and you decided to have a go with it.  So tip #1 - to do this music thing, you will have to take risks.  So get comfortable with that.

 

2) Develop a thick skin.  Performing music means putting yourself on stage, in front of a public that is often unkind and impolite (especially when drinking - like when they are listening to live music).  Perhaps even worse are the club owners and other musicians with whom you need to form a working relationship.  These listeners make decisions which will often seem fickle and/or based on reasons you think are entirely trivial and even stupid.  In this line of work, you will face criticisms you think are unfair and undeserved.  So develop a thick skin.

 

3) Remember, there are things you need to learn that you can only learn on stage, and things you need to learn that can only be learned alone in the practice room.  Both on stage with others and alone in your practice room are important.

 

4) Time with your keyboard is money in your musical bank; time playing with others is more rare and more valuable.   Get as much time as you can playing your keyboard; get as much time as you can playing with others (why you should go ahead and meet with the singer). 

 

[PianoMan51]

One aspect of accompanying a singer is to make your accompaniment understandable on first hearing. This is about having clear musical ideas and then play them.
 

One of your main jobs as a one-man rhythm section is to hold down (communicate) the form of the song for the singer and the audience. 
 

Your intros need to clearly sound like intros. So that the singer, who is listening to you, recognizes ‘oh, this is the intro for Song X’. And from that intro the singer knows the tempo, the key, and exactly where to start the song.  If your intro is ambiguous, you’re not supporting the singer.
 

Your endings need to sound like endings. Same with your solos. Same with your accompaniment. 

 

Good thing? The audience isn’t there to hear you, so you can play very simply technique-wise. 
 

 

 

[marino]

If it's just voice and piano, you are also the drummer and the bass player. That does *not* mean that you have to play a lot of contrapuntal parts; on the contrary, often it's best to keep things simple and *rhythmically clear*.

 

- Make a few reharsals with the singer; some of them have a strong sense of their part and go on whatever you play, while others need to rely heavily on what the accompanist is doing. In reharsal, you'll acquire a sense for what tipe of singer he/she is, and how much freedom you have to play "pianistic" things.

 

- Stick to the same intro, or at least intro type, for every song. Make a note of what note/chord you have to play last before the singer enters. To be on the safe side, you could begin the intro hinting at the first phrase of the song - in the same key, obviously. 😁

 

- If it's pop/rock, prepare some rhythmic pattern for every song, and stick with that, or some close variation. This will give the singer some familiar ground to walk on. Maybe a different one for the chorus.

 

- Speaking of choruses: sometimes, during the high points of the song, it's ok to play the main melody in unison with the singer. Often it's best to play a simplified version, only playing the 'pivot' notes.

 

- It's ok to melodize sometimes, but do it in between the melody phrases, and again, keep it simple. Of course, if there is some counter-melody or instrumental riff in the original song, and you are going to play it, never change or vary it. Keep any pianistic complexity for the instrumental coda!

 

- Like others have noticed, be ready for any displaced entrance from the singer. Be quick to adjust your playing, and - don't make strange faces. Even if for a moment you wish to kill the singer, keep a straight expression... otherwise, everybody in the audience will know that something is going wrong!

 

- Have a glass of beer before playing, and enjoy the experience!

[Shamanzarek]

I started a duo with a female singer last year never having done this before. We both play in local bands but started this to do the many well-paid smaller gigs available in the resort area in which we live. We started from the ground up and I get to pick many of the songs. She plays guitar on a few songs and I play guitar on several songs which adds more diversity to what we can do. Most single/duo acts around here are strictly guitar often with backing tracks which we don't use. I learn songs mostly from listening to the recordings and sometimes check chord charts but I memorize everything so I don't have an iPad or charts on stage. The singer does use an iPad for lyrics and guitar chords. Maybe coming into an established act where someone is dictating unfamiliar repertoire from specific charts would be a different situation but being in this duo leaves me free to play how I want and work things out democratically with the singer. I am happy doing this and we have been getting bigger audiences than the many other single and duo performers in our area.

[ElmerJFudd]

Great gig.  I enjoy accompanying singers.  As already mentioned, it’s about listening and reacting.  Following their time, supporting their energy and flow.  Doing less and playing softer when they are being subtle, playing out to fill in space between when they have nothing going on. 
 

Enjoy and best of luck on this becoming the first of many such gigs! 👍

[ESFlash]

Perhaps it is not too late for you to reconsider . . . your teacher would not have recommended you if he/she felt you weren't up for the gig.

 

Some terrific suggestions folks have offered to you -

 

-- especially: arrange a get together rehearsal and see how you two gel

 

-- I do make chord charts, usually number charts in case the singer wants to roll in a different key from their "usual" key. Just about any song from the genres you described can be found on youtube for learning and chart purposes

 

-- I usually try to stay out of the vocal range when possible especially if the singer plays acoustic guitar -- a lot of how you voice things often depends on the tune itself and where in the tune you're at -- intro, first vrse vs last vrse, chr, pre-chr, brg etc -- a few guide notes every now and again can be also be welcome

 

-- some singers are terrific at giving cues ...... others, not so much . . . a lot of this can be sussed during a rehearsal along with making your own notes

 

I say follow your teachers lead and go for it, or at least meet with the singer and see how it sounds

[Leroy C]

Are these tunes with sheet music that you have to learn note-for-note, or more like real book chord charts where you semi-improvise comping behind the singer?

[Bill H.]

11 hours ago, Jose EB5AGV said:

But, honestly, one of my playing aims, along playing on a band as I do, is to do that kind of gigs. Even just me singing along (if those just for friends/family, I am not that great singer 😅)

 

But I don't know how to work on this so, please, could you share some hints, useful videos, whatever you think may help?

 

Thanks!

 

Jose

 

Whether or not you take the offer, I'd suggest you do this anyway. It will give you a feel for the interplay between solo piano and vocals. When you're singing and playing at the same time, it's natural to lay back a bit on the piano - which is what you want. It's that back-and-forth give-and-take that you may not get if you're just practicing the songs on piano alone. 

 

This is coming from someone who did piano bars, restaurant dinner music, and wineries solo for over 20 years. 

 

One of my tricks was to ghost particularly difficult vocal jumps on piano - just to give me confidence on hitting that high note. This can drive a talented vocalist nuts if you end up accompanying them. I did that a couple of times. 

[Jose EB5AGV]

25 minutes ago, Leroy C said:

Are these tunes with sheet music that you have to learn note-for-note, or more like real book chord charts where you semi-improvise comping behind the singer?

 

There was nothing available so I would need to do it my way, which would be real-book kind. Or even just the lyrics and chords. I use to play that way a lot, so I can play whatever I feel fits. But usually I play (a) along other people who play guitars or (b) on the band with all the usual suspects (drums, guitar, bass, sax, singer) so my "arrangements" are usually pretty simple. Both because there are other instruments and because my playing level is still basic.

 

So, being only myself and a singer is, at this point, too much for me. And even more with just a week to get into it.

 

Hope this clarifies my decision!

[Jazz+]

 

I like to practice “all rubato” for the first part of a tune and then go into “time.”

[jerrythek]

8 hours ago, mcgoo said:

I live by the idea that the singer is always right, even when they're wrong. 

This.

 

Your job is to make them, and the performance come out well. You can’t correct mistakes on the gig, always go with the flow and smile!

 

Jerry

[Leroy C]

1 hour ago, Jose EB5AGV said:

 

There was nothing available so I would need to do it my way, which would be real-book kind. Or even just the lyrics and chords. I use to play that way a lot, so I can play whatever I feel fits. But usually I play (a) along other people who play guitars or (b) on the band with all the usual suspects (drums, guitar, bass, sax, singer) so my "arrangements" are usually pretty simple. Both because there are other instruments and because my playing level is still basic.

 

So, being only myself and a singer is, at this point, too much for me. And even more with just a week to get into it.

 

Hope this clarifies my decision!

Yeah, that's a really tough gig.  I don't think most people realize how good a pianist, and indeed, a musician, you have to be to pull that off.  It may not always look flashy, but you have to have a lot of knowledge and chops.  I aspire to that sort of thing, but I'm a loooooooong way from being able to pull it off.

[Al Quinn]

Great advice on this thread.
 

Something I didn’t see mentioned yet is to video record yourself accompanying an imaginary singer. Then watch the video. Does it meet your intent? Is it up to your standards? After doing this you’ll know what to work on and, importantly, you’ll likely refine your intent.
 

For me, the most important thing is the feel: without an excellent feel it can't be an excellent accompaniment (at least IMHO). 

[cphollis]

On 5/25/2024 at 4:07 AM, Jose EB5AGV said:

Oh well, sometimes things like this happen!. I have just been offered by my piano teacher a lot of gigs (about 45 in total), beginning with 9 in June. Just a singer and me. A singer who I have never met (he has played along her, but he is an accomplished pianist). And a repertoire of 50+ pop/rock songs, which I know about 70% but have played just about 30%, and all on a pop/rock band context, not alone with a singer.

 

I honestly feel I am far to be ready for something like that, and have declined. But, honestly, one of my playing aims, along playing on a band as I do, is to do that kind of gigs. Even just me singing along (if those just for friends/family, I am not that great singer 😅)

 

But I don't know how to work on this so, please, could you share some hints, useful videos, whatever you think may help?

 

Thanks!

 

Jose

Cool gig, I enjoy doing that sort of thing.  I backed a solo female vocalist for years, and it sounded great.

 

It's a different listening skill. When you play solo, you listen to your own metronome.  When you play in a band, you listen to the drummer.

 

When you play behind a vocalist, you're trying to suss their natural phrasing and tempo shifts, nothing more.  You can't force your tempo for them.

 

The way I got good at it was by actually doing it, e.g. rehearsing together until we were comfortable going back and forth.  Big ears help.

[timwat]

For whatever it's worth, I think a versatile working keyboard player should build this into their toolbox of things you can do. There's a list, I suppose, which might include:

 

1) Learning most of the common wedding dance songs as autopilot

2) Being able to play LH bass without making it a train wreck

3) Copping a competent string line and brass part

4) Being able to accompany a singer

 

Lots of good advice already. I'll add a different comment - what the journey may look like for anyone starting out. I think many go through phases or seasons.

 

You start out terrified at how naked and exposed it feels. You will be anchored to a single approach to the tune that you labor over, and will feel handcuffed to it and cling like a safety blanket. You will end every song feeling like the least capable piano player in the world, and everyone is either laughing at your playing silently or pitying you. You feel bad for the singer having to end up tolerating your playing.

 

But eventually after many gigs, you begin to realize everyone isn't paying attention to your shortcomings (and you being handcuffed to an arrangement). You notice that when you accidentally play less, it actually is a positive thing for the song. The singer occasionally complements you on a song here or there. You start to enjoy playing three or four of the songs, and you start to look forward to seeing them on the hit list. And you start to feel ownership of your role.

 

Along the way, you happen to hear some recordings of what the pros play behind great singers. It's humbling, yet inspiring to hear how differently they approach intros, verses, choruses, their 16 bar solo, and how they land the plane. You're not able to do what they play...but it opens your eyes and ears to what is possible.

 

After a while, you start building a larger and wider vocabulary. Not just of licks and devices...of perspective and approaches and big picture stuff. You start taking more chances, introduce more reharms, try to leave your mark on tunes. 

 

Anyway, I think that's how the journey has gone for some of us, and the way it might go for you too.

 

But you have to take the first step and start walking down the path.

 

My 0.02

 

 

[octa]

The especially magical performances may go something like this. .