The Role of Duets in the Piano Studio

I love playing piano duets! I always have, too. Throughout my studies, getting to play great music with another pianist has proven to be lots of fun while still addressing important pedagogical issues. Because it is not always convenient to include piano duets in our studios, sadly many teachers neglect this portion of the repertoire. Here are just a few of the benefits that students of all levels can gain from diving into these rich works.

• Improves recognition of notes and rhythmic figures. From the very beginning, young children benefit from duet playing because the parts are often below their current level, allowing them to focus on reading the notes and rhythms accurately. As students progress, duet playing's focus on a single clef (in most cases) also develops their sight-reading skills.
• Strengthens aural skills. Since all of the music is not coming from a single set of hands, student pianists quickly learn that they must depend upon their ear in order to insure that the two parts are fitting together properly. Additionally, students are exposed to chord progressions in duet playing that are often technically too demanding for their solo repertoire
• Develops independence of playing. Pianists quickly learn how to confidently play their part while hearing another theme or rhythmic pattern in opposition to their own.
• Improves the inner sense of rhythm. Students no longer have the luxury of adjusting the tempo to fit their technical needs. Those playing duets quickly realize that the beat must be maintained in order for the performance to work.
• Allows soloist to experience performing in ensemble. The study of piano is primarily a solo pursuit. Making music, however, is not always a solo effort. The duet repertoire is a wonderful introduction to the sense of community, collaboration, and camaraderie musicians enjoy when playing in ensembles.
• Serves as excellent preparation for future roles as accompanist and chamber player. Few pianists will enjoy a career exclusively as a soloist. Truthfully, much of our time will be spent as accompanists and chamber musicians. Playing duets -- especially with students at a lower ability level -- can be a great introduction to the art of collaboration and the skills necessary for a successful performance.

Pianist vs. Accompanist

Recently, I attended a workshop discussing the skills needed to become a better accompanist. At the beginning of the session, the clinician stated that the difference between a pianist and an accompanist was the accompanist's awareness of breathing. I was disgruntled by the statement immediately, but tried to give the speaker the benefit of the doubt. As she continued her presentation, I became more and more convinced that she was a total hack who should never speak publicly about the art of piano collaboration. It also set me on my personal development of workshops on this topic about which I am extremely passionate.

I do not consider myself an accompanist. I am a pianist. End of statement. When one accompanies another person on a journey, the implication is that they are simply along for the ride. They are not significantly contributing in the efforts that will lead to the final destination. The same connotation is often held by those who view the pianist as nothing more than an "accompanist." The pianist is not viewed as a contributing member of the ensemble. While the piano part may be simple at times, there are still significant artistic choices that must be made. In my mind, an "accompanist" is someone who merely plays the notes on the page; a pianist brings artistry to the performance, allowing the notes on the page to take on a life of their own.

The distinction moves beyond the use of terminology though. To say that a pianist lacks awareness of breathing displays a total lack of understanding of the careful study of piano performance. Just as singers and instrumentalists rely on the breath to carefully shape their phrases, the pianist must allow the melody to breathe as it rises and falls. Although our instrument is not powered by the flow of air, playing without allowing the music to breathe in a natural way results in a performance that is stilted and lifeless.

Perhaps a better distinction to notice is the difference between a solo artist and a chamber musician. The solo pianist is concerned solely with the sounds coming from his instrument. The chamber pianist, on the other hand, fully understands the necessity of collaborating with another musician -- whether a vocalist, conductor, or instrumentalist -- to achieve a moving musical experience. (Hence the term frequently used to describe this specialized field of playing -- collaborative piano.) Many pianists find themselves living in both worlds at various times. Personally, I believe that pianists tend to prefer performing as a soloist or a collaborative pianist; there seems to be an affinity for one type of playing over the other.  Neither pianist is superior to the other; the two simply have different approaches to making music and will often find themselves called upon to perform in the other vein of piano performance. The ultimate goal of both pianists, however, is always the same -- to create the most beautiful sounds possible with the skills they have developed over years of study of the piano.

My Symphonic Band Experience

Last semester, I had the opportunity to play the first movement of Eric Whitacre's Ghost Train with the Symphonic Band at Union University. The score was tremendously challenging and required a lot more preparation time than I first imagined. Issues were compounded because this was my first experience playing in a large ensemble like this. Now that I've had some time to reflect on the experience, I have realized that this type of ensemble playing (as opposed to traditional duets) can be very beneficial for developing pianists.

• Following a conductor is a skill that is developed over time. As soloists, we often vary the tempo slightly (e.g. rubato). Although many soloists use rubato much too freely in my opinion, it can be done with great musicality. As I played in the larger ensemble, however, rubato was no longer a viable option. Strict adherence to the conductor's rhythm patterns are essential and requires great discipline on the part of each participant.
• Playing in a large ensemble redefines what it means to "know" a piece.  Not only must the pianist know his individual part, he must also be aware of what is going on in the other voices of the ensemble and how things fit together. This places greater demand on the pianist's listening skills and is a wonderful opportunity for collaborative pianists to refine their skill in this area.
• Ensemble playing brings musicality to non-melodic material. Much of what I played in Ghost Train was not the important line that needed to be heard above all else. My challenge became developing an opinion of how to shape the line in my personal rehearsals that allowed the most mundane passages to remain musical. Once I had formed that opinion, I then had to execute it in the rehearsal and see how it worked as part of the greater whole. Sometimes the conductor provided feedback, but not always. It became my responsibility to assess my playing in light of the entire sound spectrum that surrounded me.
• Balance and issues related to voicing became very real. Pianists often address issues of balance in their solo playing. I personally enjoyed watching a small ensemble of instrumentalists playing together in rehearsal until they were satisfied with the overall balance. Some of the things I saw and heard have now been added to my personal rehearsal toolbox as I deal with issues of balance as a soloist.
• Practice is no longer a solitary pursuit. I think this is one of the greatest lessons for a collaborative pianist to learn. When I'm rehearsing music for an ensemble -- whether it is a symphonic band or a work for voice and piano -- the time I am investing is not benefiting only me. The ensemble is rewarded because of the time I invest; sadly, the converse of this statement is also true.

Not every pianist has the opportunity to play in a large ensemble. However, every pianist CAN seek out ensemble opportunities of some sort in which they can participate. Collaborative playing takes the experience beyond our instrument alone and permits pianists to become part of a musical dialogue much greater than themselves.