WHAT TO DO AND NOT DO AS AN ACCOMPANIST?

Today, I’m going to be on accompanists for soloists; most of which are keyboardists. I watched a video of a lady playing a beautiful violin arrangement of Newlove Annan’s Your Grace and Mercy at an event that took place at Central University and sincerely, the accompanist has got to be the poorest I’ve ever seen. The keyboard was exceptionally loud and instead of following the soloist, he rather played to suit humself. At the end of the performance, one could notice that the soloist felt a bit devastated because she couldn’t express the dynamics of the piece because Mr Accompanist felt he needed some attention too.

I’m not saying the accompanist is not important, but in being one, you have got to realise that no one actually cares about you except for your lover who wants to come and watch you accompanying the soloist the audience really cares about. You are on stage because the soloist is and you shouldn’t expect even half of the spotlight. I heard J. V. Armaah actually asked the sound engineer to lower the velocity of the keyboard and Mr. Sound got annoyed. That’s a topic for another day… Sound engineers, I’ll be coming to you but now, accompanists, what is your responsibility?

1. Don’t rush nor drag the soloist.

This is very annoying to the soloist and the listeners. You never know when you will get to accompany a soloist who will crack your head with his or her instrument when you do this. Always remember one rule, follow the soloist and be attentive. Watch out for ad libs especially. Yes. Some ad libs are not rehearsed and they take you by surprise and makes you miserable. Please endure. That is why you are an accompanist. Your job is to FOLLOW THE SOLOIST.

2. Make sure the transpose is set to zero (0) before you start

This is very important especially at programs where contemporary bands are invited and they only know how to play in Key F (they never learn). This transpose functionality has been a major cause of disasters during performances. Don’t blame the poor Key F keyboardist because of your carelessness and negligence. End the piece, and restart in the original key when this unfortunate situation happens.

3. Do not be louder than the soloist

It wouldn’t hurt to keep your volume below that of the soloists. At times, there may be outbursts due to faulty cables but try to control the volume because some sound engineers are idiots and wouldn't care. If the piece makes it difficult for you to control the volume, just use the touch response. It wasn’t created to beautify the keyboard. USE IT!

4. Learn to turn pages faster or get a page turner

If you have to sight read to accompany a soloist, get a page turner. Yes. You are not Addaquay. Addaquay is a prodigy and you are probably just you. YOU!!! Failing to turn the page at the right time can be very disastrous and can crush the flow of a piece. In case you don’t get a page turner especially a sensible one, rehearse your page turning and memorize the notes at the end of the pages.

5. Keep eye contact with the soloist in case of any signals

Don’t focus so much on your instrument while playing. Within intervals, watch the soloist in order not miss anything he or she would like to communicate to you. The soloist cannot shout and call your name while performing, therefore it will be prudent to keep eye contact at regular intervals.

The elites in music can add more but so far these are the five main things an accompanist should do or not do in order to make the lives of our soloists better. Kudos to accompanists such as Edwin Ferguson, Francis Eyeson, Augustine Sobeng, Kwame Appian Jnr, Sita Afriyie, and some few others whose accompanying skills are great. I wish everyone a Happy Palm Sunday. I am the Black Handel. I’m out.

THE CHURCH: DOES IT NURTURE OR KILL MUSICAL TALENT?

From medieval times till present, churches have been known to be places that cannot do without music. Both instrumental and vocal music are featured in church services and the structures differ from era to era or from church to church. Choral music in church started as male choirs during the medieval to the renaissance period and later, women were added in order to sing higher registers. Choristers went through serious training to enhance sacred music. As time went on, the organ was brought into the church and prodigies and people with promising musical talents were trained.

Till today, a lot of churches invest into their youth to ensure that their talents in music are nurtured so that they can serve their church alone. (SELFISH THOUGHT!!!) Some churches don’t invest in and motivate their youngsters and as a result, some youths who are promising lose interest. And then, gbam! Talent killed. I will be drawing some lines between two types of churches and how each of them treat music in their churches and I’m sure you’ll be able to relate, name fingers and point names… (That was definitely intentional).

1. A church where some instruments are not allowed and a church that is open minded when it comes to musical instruments.

Basically, I find any church that exempts some instruments as a church that has a problem. Why should one deem certain instruments as evil and others as good? Or why should some be permissible and others, non-permissible? It just doesn’t make sense. For those who don’t even allow the playing of any instrument at all, their problem is on a different level. I can imagine how boring church services would be like. Churches that allow variety of instruments are those that produce the most talented youths.

2. A church that employs professional music directors and a church that takes delight in using someone just because he or she is born again.

Music groups that are lead by people with less proficiency in music are dead musical groups and have no future. The musicians in such groups are made to think they are serving God but whatever they think they may be offering is unacceptable. Time for rehearsals is divided and most is used for prayers. This explains why there are noisier hymn champion orchestras than serious symphony orchestras in Ghana especially. I thought the Bible teaches that God wants the best. Well… Kudos to churches that employ professionals to train their youths. It is clear how music groups in churches outshine that of other churches.

3. A gender discriminate church and a church that uses all youths despite their gender.

Sadly, some churches don’t allow females to have anything at all to do with music in the church. Yes! Believe it or not! Nothing at all!! Not even singing. In some cases, certain instruments are assigned to a specific gender. I knew of a church which stopped their ladies from learning brass instruments because they heard a so called medical claim that brass instruments can cause barrenness. (Then I guess Alison Balsom, one of the most brilliant female trumpeters is barren too). Fortunately, as time went on, they let go of that notion. In that same church, a lady was stopped from conducting because they believed she was leading the men astray because she shook her butt anytime she threw her hand. I can imagine how weak the men are. A church that involves all gender in music is a shining church. What is the use in acting like a church in the medieval period?

4. A church that motivates musicians and a church that indirectly insults its musicians

A keyboardist in one church was told he plays hymns like he is playing for Chris Brown. How Pathetic! In the first place, how did the so called Pastor even know of the style of Chris Brown’s music if he doesn’t listen? There are good churches that motivate their musicians by tipping them with some “coins”, buying their costumes and linking them to high places. ICGC is one of the churches I admire so much when it comes to motivating their musicians. For their annual event Greater Works, the orchestra members reside in a hotel, they are provided with costumes, fed and paid after the event. I’m not saying churches should pay their musicians, all I am saying is; a word of encouragement is enough to motivate the youthful musician.

5. A church that judges its youthful musicians and a church that reasons with its youthful musicians

An instrumentalist was not able to attend his local church because he travelled with the orchestra to other branches of the church to minister and his pastor’s wife of that local church told him that he is exchanging his salvation with music. (The most heartless comment I’ve ever heard). One lady in a campus fellowship is being treated like an outcast just because she sings with a music band in another church. In my case, I was told God is not happy with me for being a member of the University Choir. They are judging. Are they not the ones that God is unhappy with? Then I guess God is probably unhappy with churches that allow their youths to shine in other places and learn new things because they know God is everywhere. Nope. I don’t think so. God is rather happy with churches that do not behave politically and not churches where leadership uses its position to dampen the musically enthusiastic spirit of its youth.

You may have a story of how your church is either nurturing or killing your talent. You can send it in the comments section. But remember, don’t let the activities of a church that acts like a corrupted government kill your talent. Build yourself and practice more. Don’t turn down invitations to perform. Go out and make someone smile with your voice or instrument. Your talent was granted to you to serve the universe and not a small group of selfish individuals alone. I want to give a big shout out to ONA Records and its CEO, Mr. Richard Densu for training youths who have promising talents and also their dedication to promoting them.

I am the Black Handel. I’m out.