Sigma Alpha Iota

8 Winter 2026 • sai-national.org By Maggie Hinchliffe S panish pianist and scholar Javier Arrebola once told me that to prepare for a performance, he learns a song three ways: first, study and prepare the piano part; then, learn the vocal line; and finally, integrate the two together. As a pianist who frequently performs with singers, he balances both disciplines in learning the process. Singers and pianists know well the extensive study and collaboration that song repertoire requires, which is unlike many other forms of classical repertoire. Beyond learning both musical lines, a performer must also study its poetry—including poetic form and literary devices—and, if in a language other than their native tongue, its translation and pronunciation. Although the singer will ultimately perform those words onstage, the pianist must know them just as intimately to adjust each note and phrase according to the singer's performance. The approach to every vowel, consonant, and breath could affect how a pianist responds at the keyboard. From the early stages of rehearsal to spur-of-the-moment stage decisions, both pianist and singer must commit to learning from each other and trusting the other's musical decisions. Young singers develop these skills throughout their studies to understand their role, and their pianist's role, in the collaborative process. As a result, many pianists spend their careers as "vocal coaches"—teaching and guiding student singers in their repertoire. Most pianists, though, do not study the technical aspects of singing. This leads to the question: how can a pianist teach a singer? This question has intrigued me since my time in graduate school as a collaborative piano major. I wondered how to communicate with singers when I don't know the mechanics of singing myself (don't ask me anything about the larynx). I finally had the chance to workshop these skills and learn from an expert in the field. In May 2025, I participated in a small, little-known program mentored by the internationally-recognized—and incredibly kind and knowledgeable—pianist Roger Vignoles. Four pianists from around the country gathered in Nashville, Tennessee for the fifth biennial Roger Vignoles Mentoring Program for Young Professional Vocal Coaches. Hosted at Vanderbilt University by Jennifer Quammen McGuire, Opera Director and Principal Senior Lecturer in Collaborative Piano, this program provides the unique opportunity for pianists in the early stages of their careers to workshop their skills accompanying and teaching undergraduate singers, under the guidance of Mr. Vignoles. At first, Mr. Vignoles, who is "one of the leading accompanists of our time" (Royal College of Music in London), was quiet and said little. On the first day, he stated his main goal was to provide advice about the process of coaching rather than offer personal opinions about musical interpretation. His only immediate recommendation was for each pianist and singer to perform a song in its entirety right away. Then, after this initial sing- through, he asked the pianists to "keep them singing," advising us to minimize philosophical discussions about interpretation and instead respond with opinions and ideas for them to try. Each day, Mr. Vignoles' interruptions grew How Do Pianists Teach Singers? Learning the fundamentals of vocal coaching with Roger Vignoles Pianist Roger Vignoles Pianist Roger Vignoles SAI Philanries, Inc.

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