The Choir’s Secret Weapon – What Makes a Great Accompanist

Accompanying requires far more skill than merely playing your instrument well. The good accompanist must be able to keep a firm, consistent tempo, but also be ready to change tempo smoothly if the choir director or the soloist requires it for any reason. They need to be able to play and listen at the same time. They must be able to provide strong, clear introductions and play them the same way every time. They need to be able to cope with sudden changes of direction, in terms of the number of verses or repeated refrains. 

Supporting, not dominating

It’s no wonder that good accompanists are hard to find. They need to be sensitive and responsive to the mood and feeling of the assembly or the choir, giving musical encouragement when it’s needed, reassurance when the singers are feeling uncertain, strong support when the assembly is singing enthusiastically – sometimes all of these in the same song. They need to be able to recognise when the melody needs emphasising, if a soloist is wavering or the assembly needs to learn a new melody, and to recognise when a fuller accompaniment is needed when there is a large group that might drown the accompaniment out. 

They need to be aware of their own power to control the mood of a song.

Personal qualities

Good accompanists need to be very good sight-readers, and not be frightened off by pages of new music presented with very little notice. They need to be extraordinarily patient, ready to go over and over the same passages. They must be able to cope with making mistakes, and keep on going regardless.

Higher level skills

All these are basic skills for a good accompanist. The great accompanist also has a sound understanding of the liturgy, so they know when a song needs to begin, and when it needs to end, what is the liturgical action it is accompanying and what sort of tone is appropriate for each action. They should ideally have improvising skills so that they can play on briefly or for extended periods when the liturgical action exceeds the length of the song. They are people of prayer, so that the music they create reflects a depth of awareness, a sense of praise and joy. 

Where do we find accompanists like this?

Seek and ye shall find

Well, the most obvious step is to look for trained keyboard players among the adults in the parish and encourage them to commit to the music ministry and undertake training as an accompanist. If musicians as accomplished as this are thin on the ground, you could look for young adults or teenagers who are studying music and might appreciate the opportunity to advance their skills.

Looking further

Younger teenagers with good foundational keyboard skills could be encouraged to become trainee accompanists, maybe with the support of a parish-funded scholarship that provides funds for music lessons in exchange for a regular commitment to playing at Masses and rehearsals. Young accompanists should be in high school unless they have exceptional skills, but remember that keyboard skills though essential are not enough. Good accompanists have a spiritual maturity that informs everything about the way they play in the liturgical context.

Mentoring young accompanists

For trainee accompanists, a willing, capable mentor is essential. Mentoring begins during rehearsals and practices, as well as in one-on-one mentoring sessions. When the trainee’s skills are sufficiently developed, they can begin to accompany the assembly or the choir at Mass, perhaps one song at a time until they gain confidence and skill. Their mentor, be they the choir accompanist or a regular parish accompanist, or the choir director, should be gently encouraging, and know when the trainee needs new opportunities and when they need consolidation. 

Accompanying skills take time and experience to develop, but the investment for the parish is invaluable. A great accompanist with musical expertise and liturgical understanding as well as spiritual awareness  is an extraordinary gift for a choir, a soloist, and the whole parish.

Written by. Pat Smith’s