How To Find Work As A Professional Theatre Pianist

What kind of work can a professional pianist expect to find?

Obviously you can work as a recitalist, or join an orchestra as their resident orchestral pianist. But there's a hidden area of work that is both satisfying and fun.

I worked for almost 20 years in London's West End as a rehearsal pianist, and this article focuses on what a rehearsal pianist is, and how to become one.

A rehearsal pianist plays for the rehearsals of West End or touring shows, in the weeks of production before the band arrives. Any show that contains live music will need a rehearsal pianist, but the most famous examples are the big musicals. I worked on Les Miserables, Phantom of the Opera, Miss Saigon, Me and My Girl, Carmen Jones, and a host of productions both in the West End and on tour.

The contract usually runs for four to six weeks, from 10am to 5pm five or six days a week. During the technical week (the week before opening night or the first preview, when all the sets and costumes are added) the hours can extend quite dramatically - I would sometimes be working 12 or 13 hour days

As a rehearsal pianist you have to be very patient, and to enjoy watching the process of performance creation. In addition, you should be able to perform musical numbers repeatedly to a consistently high standard. And you need to like working with actors! You may or may not have a conductor there, and occasionally you are given the task of training the singers, or playing for the dance calls.

Most productions will have a minimum of two rehearsals each week. You may be called to work on the production during the run, particularly if there is no piano player in the orchestra.

How do you begin working as a production pianist?

When I moved to London in the late 80s I wrote 750 targeted letters asking for employment. Although most of the production companies no longer exist, the methods of contact I used are still valid.

Remember first that you're looking for companies or organisations that produce events, musicals, plays with music or short films, that would need a musician. In the UK, the place to start is the British Music Yearbook, published by Rhinegold and usually available in a good local library. Once you've exhausted the BMY, then Contacts, published by The Spotlight, has a good up-to-date list of repertory theatre companies.I also wrote to film and production companies (with the emphasis on Production) offering my services and asking them to keep my details on file for when they might need a film pianist.

Dance studios like Pineapple Studios in London are constantly hosting production rehearsals, and may be worth contacting. They won't provide you with employment but they have so many production companies hiring their space that they might be able to put you in touch with people needing your brand of skills. It may be worth approaching all the similar rehearsing venues in the area.

Another alternative, often forgotten, is to contact the West End Orchestral Fixer. An orchestral fixer will liaise with the producers of a musical to book the musicians for the run of the show. They will sometimes employ or recommend pianists for the rehearsal period, even if they are not booked for the performances. Once I was established on the scene, I got a great deal of my work from one West End fixer, who knew about or was involved in lots of productions. I didn't necessarily play in the production itself, but was hired for the rehearsal period and the "overlap time" between the bandcalls (in the final week of rehearsal) and opening night. There is an exclusive list of orchestral fixers approved to book West End musicians - if you are having trouble finding it - contact the Musicians' Union.

In a nutshell, think out of the box. I got the contracts by writing to as many people as I thought had the budget to pay me.

Did my mailout all those years ago get any results? Out of those 750 letters I received 49 replies, and one interview for a job in the West End which lasted for a full 8 months and led to a busy 20 years in and around London's Theatreland.

Good luck!

-------------------------

Jeremy Fisher trains singers and performers to find and maintain their best. He's the author of Successful Singing Auditions, creator of the UK's first endoscopy video ebooks, and is fascinated by bringing technology and innate skill together. http://www.vocalprocess.co.uk

[you are welcome to publish this article on your own website or blog provided the author's biog and Vocal Process weblink above is included]

Visit http://www.vocalprocess.co.uk/ for the latest downloads:
the Vocal Process eZINE (free electronic magazine)
86 things you never hear a singer say (free ebook)
The Voicebox Videos DVD website tells you all about the Looking At A Voice endoscopy video series
The Vocal Process website has a series of free articles on vocal technique and style, memorising and different musical genres.

Doh! - Six Very Good Ways To Start Singing

This is an article I wrote a few days ago which has already been published on a number of websites and blogs around the world. Although it came into being through writing on karaoke and tribute band singing, the information in it applies to pretty much all singers looking to sing in a contemporary style. Enjoy!

If you are working in a tribute band, or competing in karaoke competitions, you want as much vocal flexibility as possible.

Your list of cover artists can increase dramatically if you have more choices with your voice and technique. So how do you change your vocal style, and what is vocal style anyway?

Style in singing is about the way you use your voice, rather than the actual sound you make. Perhaps it's the phrase shapes you use, such as many notes on one syllable, long phrases or short, single notes. Or even the type of accent or dialect you use when you sing (American, South London "reggae", Motown, 'Britpop', operatic, Italian English etc).

For this article I'm going to focus on one aspect of vocal style - the way you can start and finish a note. Starting a note is called Making the Tone Onset, and it happens right at the beginning of a note, word or phrase.

You can onset a sound in several different ways. Each musical style will use different types of onset by default. Each artist usually has a few favourite ways of starting and finishing, so let's explore.

I use the following exercise in my vocal studio to help my clients find out how to change their style. Classical or operatic singers usually use three standard onsets, so let's begin with those. Let's assume that you want to say the word "Ah":

1. You can stop the breath before you begin by putting a glottal stop in front of the word or holding your breath "closed" before you say the word ( 'ah! or 'uh-'oh). This is the word of surprise or warning. If you do this correctly, you actually start with a silence!

2. Allow the breath to flow first, by adding an h to the start of the word (ha). If you do this correctly, your breath will already be moving before you make the note itself.

3. You can glide into the note without either breath or a stop by holding your breath "open" or "hovering" before you make the sound - (~ah). If you do this correctly, the sound and the breath happen together, and you get a very smooth start to the note - there's no sound of breath flowing already, and there's no sudden attack. This is in fact the one that classical singers use the most, because it's a smooth, gliding onset.

Now let's move to the pop and rock recording artists (and of course blues, soul, gospel, death metal, grunge - you get the picture...). The three "classic" onsets are used in commercial music too, but pop and rock singers have fun with a great many different ones.

Here's a few for you to play with:

- Creak like an old door opening. You can sometimes find this if you talk like you are really tired. It's a really gentle sound and can mean you are being very tired or very sexy! If you do this correctly, your breath flow will be very small and slow, and the sound will "creak" into the note.

- Flip onto the note. This means that you usually start the note higher and flip down onto the "real" note. Depending on how high you start, you might end up sounding like Tarzan, but that's OK for the moment! This is a favourite with Country and Western singers. If you do this correctly, it'll sound like a yodel or a "catch in the voice".

- Squeeze the note! This carries more of an element of danger (it is supposed to sound dangerous, after all). You start by aiming for the note in your head and squeezing it out of a tighter throat. The best version of this is to begin the note with the squeeze then open your throat quickly to get a clearer sound. If you do this correctly, you'll stay on the same note but start it with a more muffled, "strained" sound and open onto a clearer note straight away.

Here's a tip: onsets work best when the word starts with a vowel, but you can do them on words beginning with other letters. So start by using words such as "ah", "yeah", "oh", and "uh"

And anything you can do to start a note, you can do to finish it. So experiment with these ideas:

- Sing a word and practise ending it with a creak.

- Do it again, but this time finish with a flip.

- Now sing the same word and end with a squeeze.

- Have fun mixing and matching


- Start a note with a squeeze and end with a flip

- Now start and stop with a creak

- Start with breath flowing and end with a creak

Now that you're getting the feel of these onsets and offsets, go back and listen to your favorite artist again. Remember that these onsets only happen at the very beginning of the note or phrase, and the offsets happen at the very end. Notice which onsets and offsets your singer uses.

In fact, they'll use some of the sounds you've just learned and not others. That's because their style includes certain things and excludes others, and they wouldn't want to change their style too much, or they might lose you as a fan!

Once you've found these onsets in your own voice, sing a few lines of your favourite artist's songs and experiment with using different onsets at the beginning of the phrases.


When you copy the onsets and offsets your vocal role model uses, you start to sound much more like them.


----------------------
Jeremy Fisher is a vocal and performance coach for singers, actors and teachers working in Musical Theatre, Opera and the pop/rock recording industry. You can find out more about Jeremy's coaching work at his training company's website

http://www.vocalprocess.co.uk/




[you are welcome to publish this article on your own website or blog provided the author's biog and Vocal Process weblink above is included]


Visit http://www.vocalprocess.co.uk/ for the latest downloads:
the Vocal Process eZINE (free electronic magazine)
86 things you never hear a singer say (free ebook)
The Voicebox Videos DVD website tells you all about the Looking At A Voice endoscopy video series
The Vocal Process website has a series of free articles on vocal technique and style, memorising and different musical genres.