Karena wrote:
>I feel really lucky because my teacher trains me in my lessons to >NOT FOLLOW THE ACCOMPANIST - it's his job to follow me.
Yes, but isn't it also the job of the soloist to follow the accompanist?
> I get in big >trouble if I adjust myself to match the pianist's tempo,
So would you sing at one tempo while the accompanist plays at another?
> or hesitate >if he makes a mistake, and I guess 9 months of that nit-picking >worked because the horrible pianist of yesterday hardly even fazed >me. I want the rest of my singing to be like that. . . just me >doing what I do, and correctly, no matter what anyone else around me >does!
Are you sure that you want to do that? What about the idea of the soloist and the accompanist as a partnership? What about the idea of an ensemble?
I'm reminded of stories about two jazz greats and how they dealt with their accompanists.
Louis Armstrong was once asked how he could sound so good night after night, no matter who was in the rhythm section (piano, bass, and drums). He replied that while travelling to the gig he would imagine playing with the best rhythm section ever. When he arrived at the gig he would continue to play with the imagined rhythm section if the actual one didn't measure up.
When Herbie Hancock was playing piano for a Miles Davis trumpet solo he once played a horribly wrong chord. Miles heard what Herbie had played and responded by playing a phrase that fit Herbie's chord, making it sound as though it had been planned.
John Link
http:/www.cdBaby.com/JohnLink Check out my CDs: http://www.cdBaby.com/JohnLink2 (John Link Sextet) http://www.cdBaby.com/JohnLink (John Link Vocal Quintet)
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