Most choral directors agree that a fine accompanist is an integral part of many a successful choral rehearsal. A person with excellent keyboard skills who is also a sensitive accompanistis a rare and valued commodity. Just as a fine accompanist can be the decisive factor in a successful rehearsal, a poor pianist can frustrate the efforts of even a fine choral conductor.For this reason, in many situations the choral director is relegated to serving as his or her own accompanist. The prospect of doubling as a pianist is not so foreboding to the director who is fortunate enough to have a solid background in piano; however, to the myriad of choral conductors with limited keyboard skills, the reality of serving as both director and accompanist results in marginal success in both areas.
For the sake of argument, let us propose that the choral director remove the piano from the rehearsal for the first few months of the choir year. This proposal is most successful at the beginning of the year since singers are not accustomed to the support of the piano. Removing the instrument alleviates the irresistible temptation to use it in moments of frustration. In place of the piano, the conductor uses a pitch pipe to establish tonality. The idea of an unaccompanied choral rehearsal is applicable to all areas of choral music, including elementary secondary,church, and community choruses, and is certainly not a new concept. For years, the English have used the system of one note at the start of rehearsal, with all subsequent pitches taken from that note. Choir schools have realized the value of developing musical independence among singers for centuries.
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