The Piano Person
/Let’s set the scene:
You’re at an audition. It’s your time. You walk into the room. You light up the room with a delicious sense of your personality. You greet the humans behind the table. You turn and -
THERE!
Right there! Behind the large, tinkly music box -
The Piano Person.
Now, this person is very mysterious. There are many unknowns about them:
“Are they on the creative team? Are they the Musical Director? Or hired in? Are they part of the decision-making process? Have I seen them before? Is this the person who messed up my pop audition last week? Are they tired? Are they grumpy? Are they pleasant? Are they a good sight-reader? Will they be able to play my cut? Are they eating a snack right now??”
And these can be nerve-wracking unknowns. Let’s not forget, these people have the ability to aid or hurt our auditions. Though - a little secret - 90% of the time they want you to do wonderfully and are just there to make good music with you for the 30 seconds you’re singing.
But what do we do with this Piano Person? How do we interact with them? Is there a general formula you can use to have the best possible interactions?
Well, as a piano person myself, allow me to offer you some of my thoughts.
Will Buck and I at BMI circa 2016 (Photo by Laura Lancaster)
Greeting
Piano people are (generally) not scary. Piano people are also (generally) human.
We are people too!
So feel free to great us like average, everyday sort of humans. No need to be over-the-top - I’ve had people thank me 5 times before even putting their music on the piano - and also please do not ignore us altogether.
It’s strange how many times people have simply plopped down their music, sped through their info, and walked away without even glancing in the direction of the human on the piano bench. Not the best course of action, even if you’re nervous!
Best ways to greet the accompanist?
Quick hello
If you know them, feel free to acknowledge that
Have your book already open to the right page
Be as open and kind as you are to everyone else in the room (we notice if you’re different with us)
That’s it! Pretty simple!
Song Info
Many people get confused about this, which I think stems both from different teaching styles and the preferences of specific accompanists.
And sure, things can vary a bit, but here are some general rules to keep in mind when providing the information about your song cut.
When putting your music on the stand, if the title isn’t on the first page of your cut then please tell them what you’re singing and from what show. Often, accompanists do not know the entire canon of musical theatre, but if you mention the show and/or composer then there’s a much greater chance they will quickly decipher the song’s style.
Please show us where you are starting and ending! These should be clearly marked in the music anyway, but it’s always helpful to have them pointed out to speed up the process.
If there are any big cuts in the music, point these out as well. Make sure that what you are cutting and what you are keeping is crystal clear!
Any moments that are “free” or marked with a big tempo change (“accel.” “rit.” “rall.” etc.), point them out ahead of time and let the accompanist know whether or not you will be taking them. Too often people don’t point out these big expression moments, which then makes it more difficult for the pianist to stay in sync with the singer.
How are you starting the piece? Is there an introduction of any kind, and is that clearly marked? Are you looking for a bell tone of your first note? Or would you like the first 3 notes of your melody? Make sure to tell us before you walk away!
Tempo. Please politely provide the tempo by singing a little of your song to us, but make sure you do it actually in the tempo. Often, people feel uncomfortable singing quietly to the accompanist and will therefore speed it up to feel less awkward…this will not help you! If you would like to move your body with the tempo a bit as you sing to us - bounce an arm, bounce a leg, rock your torso, conduct your hand - that can also be helpful. Though, do refrain from snapping, tapping your foot, or thumping your chest. Why? 1) Many accompanists find this to be loud and rude, and 2) Many actors aren’t great at providing the correct beat in this way.
Does that seem like a lot?
I get it, it’s kind of scary that you have 2.3 seconds to convey everything about your audition cut to someone you’ve likely never met before, but if you provide all of the necessary information then it’s likely to go smoothly for all involved!
There are always variations in how piano people prefer having this information given to them, but make sure you’re covering all of your bases and you will be fine!
Some Preferences
Now, there are other things that performers ask about because they’ve heard pianists have preferences.
And some of them do. Like, really do.
But for the most part, these things will just vary and you will be fine as long as the materials and information are clean and clear (and under control).
Things like:
Page protectors? Personally, I hate them because of the glare, but many people like them. Whatever is easiest for you, really!
If no page protectors, music should be double-sided and never taped together? Double-sided is easiest and cleanest, but sometimes you’re in a hurry and taped together or stapled together isn’t the worst thing in the world. Just make sure the attached pages are easy to turn! (And fix it when you have more time)
Have the full song of your cut? Only if you are prepared to sing the entire thing at audition level if asked. This is less of a preference thing, and more of an insurance policy for performers.
List of the songs in order at the front of the binder? Yes please. Anyone who doesn’t want to look at it simply won’t. But if you need to sing another cut, it really helps speed things up!
Headshot and resume available in the front binder pocket for the pianist’s perusal? Always a good idea. At the very least, it can’t hurt.
Having more music than just your cuts in your binder? I’d suggest no, but it’s up to you. It only becomes a hassle when the pages won’t turn well if there’s too much music in the binder.
Snapping or tapping out your tempo? See the above section!
Putting the music on the piano versus handing it to them? Honestly, it’s more efficient for you to do it, but some pianists hate that. And generally, if they do hate it the pianist will take the binder from you anyway.
Giving dirty looks mid-audition? Oh please do not. I guarantee you, if the accompanist is really at fault then they feel terribly about it already.
Tapping your foot mid-audition? Generally no. Best way to lead a good accompanist is with your voice. But if they really can’t seem to follow you, then it can be a last resort.
And maybe you have other thoughts and questions as well? Leave them in the comments if you do!
Thank You
No matter how well or how poorly you thought it went, the most important thing you can do is thank your piano person when you collect your music from them.
We may not be able to see the entirety of the audition from behind the piano, but out of everyone in the room, we get the most genuine connection with the performer. And if you’re unkind, not gracious, rude, or apathetic, it doesn’t leave a good taste in our mouths, which we may then convey to the rest of the room.
“Thank you” is simple and effective, and - after all - they did just do something with and for you.
Common courtesy goes a long way!
Comments, Questions, Additions?
PIANO PEOPLE!
Did I leave something out? Or do you feel differently about something I said?
Leave a comment here or on the Facebook post!
PERFORMERS!
Did I not cover a topic you’re curious about? Do you have more questions?
Ask away in the comments section here or on the Facebook post!
