[Menvi-discuss] Questions re. Blind Accompanists

Dale Lieser dale.lieser at gmail.com
Tue Apr 10 13:50:08 EDT 2012


Hi, Mr. Lay,

I myself am blind and have been a church accompanist for a long time.
Regarding measure numbers, it works well to identify sections of a piece by
which number marks their beginning. Most scores can be mapped that way by
say four to ten numbers. Or you can pretend that they are rehearsal letters.
So you might say verse 1 begins at 5, the first chorus at 33, the bridge at
the pick-up to 78, etc.

As for fermata and tempo changes, it works well for the director and the
accompanist to practice together without the singers, and the director can
talk through the ritards, etc., while the accompanist plays. And such
talking during some of the practices with the choir won't hurt anyone. It is
true that the director might not have the advantage of doing something of a
dramatic whim, but that isn't usually done anyway, since sighted choir
members ... don't see (follow) as well as the directors imagine. :)


-----Original Message-----
From: menvi-discuss-bounces at menvi.org
[mailto:menvi-discuss-bounces at menvi.org] On Behalf Of
richardtaesch at menvi.org
Sent: Tuesday, April 10, 2012 1:38 PM
To: menvi-discuss at menvi.org
Cc: layhank at yahoo.com
Subject: [Menvi-discuss] Questions re. Blind Accompanists

LIST SUBSCRIBERS:

Hello all,

Kindly read this very interesting question (below my signature). I am sure
many of you will be very willing to offer suggestions for Mr. Lay, as we
have seen several discussions on this subject over time.

Please write him directly, but do copy the list. I have suggested that Mr.
Lay join us and the network, as well. His address is: <layhank at yahoo.com>

Sincerely,
Richard Taesch
MENVI Headquarters - www.menvi.org
________________________________________

comments: I'm a sighted person, trying to help a blind pianist get a job
as a church accompanist.

I'm trying to find out if any devices or methods
have been developed to help the music director communicate performance
cues to the accompanist, such as starts, stops, tempo changes, fermatti,
etc.  Ways to identify measures (normally numbered in printed scores)
would also help.  I'm an amateur singer myself, and have no experience
with braille music, so links to sources for such would also be helpful.

Thanks,
Hank Lay





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