Through the Eyes of a Pianist

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The "correpetition" phenomenon, which we can describe as a complement to individual instrument, singing and ballet training, is one of the most important parts of our work that should always be emphasized, valued and not postponed. From the perspective of a pianist, I will share my views with you as the person who completes, not the completed. First of all, I would like to point out that in the individual instrument category, the piano only needs a composition in concerto performances (in cases where the orchestra is not accompanied and two pianos must be played). The composition parties of singing and individual instruments (except the piano) are in a structure that complements the music harmonically and rhythmically (Solo works are available, not all works are accompanied by accompaniment). Ballet and music are like inseparable parts of each other. In ballet, composition occupies an important place, especially in terms of revealing rhythmic perception, and the pianist's propensity to improvise with ballet is a desirable feature that should not be ignored. It is obvious how important it is in all areas…

Now let's talk a little bit about the implementation part of the job. Pianists, who decide to embark on academic life and start working in academic institutions, first begin to attend correpetition lessons in areas of interest or necessity as a correpetitor and learn the intricacies of this business. As they take on the responsibility of the student they accompany as a teacher and guide in this process, they are in a position that requires more dominance than ever before. This situation encourages the person in that position to decipher better, to learn new works quickly, to read music better, to listen carefully to the student he accompanies in order to be able to make music at the same time, and to be musically flexible in order to accompany him perfectly. This environment and the responsibility taken in the first days of the student life almost work to become a better musician. Of course, only to the extent that the effort is put…

Based on my own experiences, I must say that I learned a lot in the framework that I have drawn above, and that I have nourished myself musically. Thanks to the repertoire I learned, I had the chance to give concerts with many important musicians at home and abroad and to make arrangements in master classes. Thus, meeting with the ideas of different musicians from many parts of the world, learning new works, discovering the reflections of the works I have learned in the piano repertoire, establishing a connection between a wind instrument and the piano in terms of musical fiction, phrasing, unity, and the use of breath. I also gained knowledge that contributed to my own instrument (piano). So I grew up as a musician. Imagine that you are playing different pieces with 3-25 people in 30 days. How does such an experience not add something new to you? It is a very valuable situation in terms of fitness, musical and personal gains.

In this perspective, I tell my experiences so that our young pianists, who work as correpetitors in our institutions after graduation, can hear from me once again what a valuable job they actually started to do. Let them realize once again what gains they can achieve when they hold on tight. My advice to them in particular is to learn the repertoire of certain instruments in line with their interests and to specialize in this subject. Competent people are always preferred. 

Correpetition is not a job to be postponed or to make you feel worthless. Perhaps more consideration should be given to this in our institutions, our young people should be encouraged to do this work, not because they have to, but because it brings serious gains both professionally and musically. In addition, it is very valuable that our experienced teachers, who have acquired important repertoires, continue their correpetition lessons, set an example for our young people, share their experiences and maybe chart the path they can follow with the lessons they give.

I hope that what I have written in order to attach importance to the value of the work done on this path where young pianists who start working in an academic institution will walk will be instructive. My aim is to try to refute the idea that this job (correpetition) is a waste of time, which is felt or felt by some, by revealing the achievements...

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