The artist who possesses a natural gift of composition will find it extremely useful, for there are many exquisite poems which, although seeming to clamor for a musical accompaniment, have not yet been touched; but this combination is fraught with perils, and those who approach it must be for ever wary of the grotesque and unfit.
In burlesque, of course, the artist has great license in the matter of accompaniment. He may exaggerate and slash his pianoforte (taking care never to drown his voice), and achieve the absolutely absurd and ludicrous, but, in the poems or patter that need delicacy, lightness of touch, melancholy cadences or bubbling, merry notes, he cannot be too careful in the theme he chooses to aid and color his portrayal. In such pieces, the right attitude, the right gesture, the right expression must be studied and gripped, so as to add their subtle beauty to the whole. The accompanying sketch shows the correct attitude at the piano, or rather, the attitude generally adopted by the professional musical-sketch artist. The body is turned “three-quarters” to the audience, the head full-faced, the left foot working the pedals, while the right usually follows the direction in which the performer is looking.
CHAPTER XI
VAMPING SIMPLIFIED
An Accompanist in an Hour
Whilst “vamping,” or the improvising of a musical accompaniment, is considered by many anything but a classical accomplishment, yet those who can accompany in this way are a decided help to a general or children’s party.
In either case among the guests will be found some who possess the gift of song, either comic or sentimental, but who lack the power or the ability to play their own accompaniments.
Fig. 1.—First chord.
Play [First chord]