That’s accompaniment at first a good accompanist, a student brought a sense of form, integrity of performance, the deployment sequence of musical images. Therefore, knowledge and skills needed to start a professional accompanist in the music school activities, are key:-first, the ability to sight-read piano part of any complexity, to understand the meaning embodied in the score sounds their role in the construction of a playing accompaniment, it is clear to see and represent the party on the soloist, before capturing the individuality of his interpretations, and all the performing means to the most vivid of his expression;-possession game in the ensemble skills, ability to balance the sound, flexibility in the conduct of accompanying lines;-knowledge of the rules of orchestration; features of the game on the instruments and the national symphony orchestra – for In order to properly relate the sound of the piano with different strokes and tones of these instruments, the presence of timbre hearing, ability to play piano scores (concerts, operas, cantatas) by various composers, in accordance with requirements of the instrumentation of each era and every style – the ability to shift uncomfortable episodes in the piano texture in the libretto, without violating the intent composer;-basic knowledge of the conductor’s gestures and gimmicks-knowledge playing techniques for solo instruments with which you work;-ability “on track” to pick up the melody and accompaniment, improvisation skills, ie ability to play simple styling on themes by famous composers, without preparation of the invoice to develop a given theme, pick out the harmony to a given topic in a simple texture. Accompanists experience is valuable possession and accumulation of vast musical repertoire of different directions and styles.
Concertmaster should not lose the case in practice, get in touch with different genres of performing arts, trying to widen their experience and understand the features of each type of performance. Any experience is not be in vain, even if it subsequently determined the narrow scope differentiators activities in the chosen field will always occur to some extent the elements of other genres. Specifics of the game is also concertmaster that he must find meaning and pleasure to be a soloist, and one of the members of the musical, with a party phytoplankton. Piano soloist given full freedom to identify creative individuality. Accompanist also have to adjust their vision of music to the manner of performing solo.
Even more difficult, but we need while maintaining their individual identity. With all the versatility concertmaster of the foreground are the creative aspects. A necessary condition for the creative process is the presence of an accompanist idea and its embodiment. The implementation plan organically linked with the active search, which is expressed in the disclosure, correction and refinement of the artistic image of the product that is embedded in the note text and internal representation. Attention accompanist – a focus brand special kind. It is omnidirectional: it should be distributed not only between your own hands, but also attributed to the soloist – the main character of the person. Every moment is important, what and how do your fingers how to use the pedal auditory attention employs sound balance (which is the main source of ensemble music-making), a soloist, ensemble attention following the embodiment of the unity of artistic conception. This is especially it is important to work with children in which creativity, independence and initiative is being formed. Such voltage requires attention to the enormous costs of physical and mental strength.