Collaborating With A Pianist 101

Collaborating with a Pianist 101
Hello everyone,
I am a collaborative pianist from Malaysia who is currently doing my

graduate work here at UMD. My involvement with music theater has led to some
of the most enjoyable and memorable moments in my life since I moved to the
USA. Your teacher, Lisa has kindly asked me to share my experience on how to
work with a pianist in an audition setting, and I am very happy to help!
I understand that some of you might not have read sheet music before or
have experience working with another musician – but not to worry! Most of the
information that I will be giving on the next page (especially on sheet music
preparation) is pretty much common sense if we simply try to put ourselves in
another person’s shoes. As you read through them, it might be helpful to think
along these lines: Imagine if you are the pianist, how would you prefer the sheet
music to look like when your singer hands them over to you? If you, as the pianist,
have never heard or seen the music before (quite common in audition settings),
what sort of information would you like your singer to show you in the limited
amount of time you are able to communicate with each other? As a singer, what
relevant information do you think is important for your pianist to know to achieve
a smooth performance experience?
Another very important idea to take to heart is that music collaboration is

expression with company – this is what makes it so special and beautiful! I hope
you get to experience this in a live setting as soon as this pandemic is behind us
(hopefully soon). Even though you might not see that pianist ever again after you
are done with an audition, he or she is your biggest supporter in that pivotal
moment of your life. The more comfortable you can make him/her feel at that
time, the greater are the odds of success. We pianists need to do the same too!
I hope this document could be of some help to you in your future

endeavors. Wishing all of you the best and stay safe!
SHEET MUSIC PREPARATION:
1. MOST IMPORTANT: Print music CLEARLY and LEGIBLY. This means:
a) Print in black and white: black notes/text in stark contrast with white
background (no grayscale or something resembling ink-is-running-out)
b) Information on the page is in a readable size and not too small
c) Take care not to fold or distort the sheet music while scanning
2. Make sure the edges of the pages are not “cut off” when you scan or print
them, especially the vocal line on the top of the page and the bass line at
the bottom of the page. We can only make sense of the information that
we can see, right?
3. MARK your cuts clearly on the pages. If there is a repeat or skipping of

sections, indicate it. This is a great time to be creative and colorful with
your highlighters and drawing pens BUT remember, always be clear.
4. Triple-check to make sure the music is in order and no missing pages.
5. Mark important breathing points with a small checkmark (✓) in the music.
Mark any other notable choices or changes not written in the music.
6. Specific keywords (shy, playful, angry, scared, heartbroken, etc.) are helpful
in informing the pianist (or reminding the singer) about the character of the
song or sections within the song.
7. Print sheet music on BOTH the front and back page for easier flipping. Do
not leave the other side of the sheet blank.
8. Avoid putting music in plastic holders in your audition file to avoid glare.
9. All the above (except no. 7 and 8) applies if music is sent electronically.
PERFORMANCE ASPECT:
1. Music is meaningless/lifeless without CHARACTER. The more committed
you are with your intentions vocally and physically, the better your pianist
can support and match you. Be brave with your choices and don’t be afraid
to show them! I think the judges would love to see you expressing yourself
to the fullest too!
2. A lot of music theater music is about finding the “lilt” or “groove” that gets
people to move upon hearing them. The clearer you can communicate that
“feeling” of “how the song goes” to the pianist through your voice and
physical movements in the limited amount of time (~1 or 2 minutes?) you
have with him/her before you perform, the easier he is able to hit the
ground running with you.
3. No matter what happens, KEEP GOING! Mistakes (from both singer and
pianists) are normal in a performance. Stopping breaks the character and
the narrative flow immediately and rid the pianist of any opportunity to get
back on track with you.
4. Stay in character even when you are not singing, especially during the
preludes and postludes – you are still in the beautiful world you are about
to create, or has created, enjoy while it lasts!

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Collaborating with a Pianist 101

I am a collaborative pianist from Malaysia who is currently doing my

Another very important idea to take to heart is that music collaboration is

I hope this document could be of some help to you in your future

3. MARK your cuts clearly on the pages. If there is a repeat or skipping of

4. Triple-check to make sure the music is in order and no missing pages.

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