Thread: Dancing with a Keyboard Player?

Okay, so I have danced with keyboard accompaniment about ten times now (never encountered it till recently; I was dancing at all CD places), and I am starting to get more comfortable with it... But I still have some questions for dancers who may have more experience with this than I do!

1. Do you give the musician a full set of songs you'd like him to play? I gave the guy I am currently working with an idea of my desired set structure the first night I worked with him. Later, I gave him a CD (as a backup) and a list of songs I like dancing to - some pop, some classics, etc. It seems to be working pretty well so far, but we are still getting synchronized, and I wonder how specific I should get. And the KP at another place I work from time to time... I didn't even talk to him before we started! I guess because the first time I danced with one the other dancer I was with already had it taken care of and just told me he'd follow us.

2. What about when the sets are too long? Doesn't happen all the time, but sometimes it is out of control. In a sense, I like it because if people are tipping it keeps that going, and because I'm having a great time dancing! But I'm also not there to do two sets for the price of one. I signal, I pick up my veil and start spinning... But he keeps going. I need to bring this up so that I am paid fairly and can get to my later shows on time, but do I talk to the musician, the owner, or both?

3. The drum solo. Of the three or four keyboard players I've worked with, this guy has given me the best solos for sure - really pretty easy to follow. But when he does the roll with the "surprise" tek, I can NEVER figure out when that accent is coming! Drum solos are kind of a weaker point for me as it is... I have gotten WAY better over the years, but I have always made sure to know the songs really well before dancing to them so I don't just fumble my way through. This (the roll-TEK thing) is the one part I am still having issues with, and even with an actual drummer, it's easier because you can watch their hands. Not that I have tried watching this guy's hands. That might help, but he's kinda out of the way.

Those are my main concerns. If anybody's got wisdom to impart, I'd LOVE to hear it!

Serafina

Most of the smaller NY NJ places that have a keyboardist (if arabic) will follow this format. Entrance, beladi, saidi, drum solo, exit. Most of the guys I've worked with don't take a set list. They just play. Sometimes there's no separation between the Beladi and the Saidi, so keep your cane handy (near the band) and listen for the rhythm change.

If the drum solo sucks, it's not your fault, most of these guys are not drum players. Sometimes you will get a keyboardist and a drummer, but other times he keyboardist is the drummer. Just keep the doums, everything else will be almost impossible to follow. If you hit a tek it's great but keep the doums.

Master the "STOP THIS SONG NOW" face, reveal it only to the musician (not the audience) I've danced friggin 8 minute drum solos before I had this face down. You can always dance to the musician and give the cut sign or even tell him to wrap it up.

The bigger clubs with more musicians do take set lists and are more willing to work with the dancer.

Thanks, Tanya! This place actually has two 15-minute sets, which complicates things a little... Especially since the drum solo just comes at the end of the second set. And songs are often "medlies," but at least he plays recognizable songs and sings a bit. I have danced with keyboard players who just kinda mess around with familiar rhythms but don't actually play any real songs.
He did want to know in the beginning how I wanted the sets to go and if there were any particular songs I liked, and has been making an effort to play some of the ones I listed...

Man, I thought I had the face down. Mine has been a bug-eyed look, followed by spinning in place with my veil for about 36 revolutions... He has just smiled and continued to play, and then finally makes a face at me (like a song and a half later) like, "Ready to go?" ?!

He hasn't played me a beledi progression yet, either, even though I've asked a few times. I really like some "breathing" time, as well as the opportunity to demonstrate something a little different from running around and shimmying - the tempo doesn't change much throughout the set, except to occasionally speed up.

Oh well, it is a work in progress. And in general a decent player, but it will take some ironing out.

Don't be afraid to talk to your musicians. The more specific you are about your requests and the better you communicate, the more likely you are to get what you want.

There is no reason why you can't go to the musician and say, "I want there to be a cue between us for ending a song" and then work one out between the two of you.

If you want a particular order of songs or a particular request, you make it. It can be a specific song, or just a general thing. I've sometimes asked for a "classic" for my second song, like om k or abdel halim hafez, and I let them decide which song, other times I request all specific songs. I've even gone so far as to ask for specific rhythmic and speed changes in my drum solo and what "instrument" I want my keyboard taksim to emulate. None of my requests were too complicated, and most of the time I got what I asked for.

You are doing the right thing, making him CDs of songs you like and that kind of stuff.

Letting the musicians know just what you want actually makes their job a little easier, so they don't have to decide everything, but more importantly it makes you look better as you define the shape of your show.

This also includes during the show, there is no reason you can't go up to the musicians between songs and say, can you do this, or this is what we decided on next, or hell even during a song, get close and shout a little something or request. I seriously think this is better than letting the musician totally control the show, letting it go on forever or wearing you out and potentially not showing you at your best.

Of course always be nice and appreciative, thank your musicians on and off stage, it will help keep them moore cooperative. Communicating is the key. You will work it out.


oh and the drum solo thing...accents usually come in an 8 count, even in the rolls. If it really is pretty random, then instead of trying to follow, why not lead? It is easier for you to telegraph and accent for him than the other way around. Again, communicate, ask him to follow you on that part of the tabla solo, even demonstrate for him your wind up so he can catch your accent, then try it. See if he does it.

What about when the sets are too long? Doesn't happen all the time, but sometimes it is out of control. In a sense, I like it because if people are tipping it keeps that going, and because I'm having a great time dancing! But I'm also not there to do two sets for the price of one. I signal, I pick up my veil and start spinning... But he keeps going. I need to bring this up so that I am paid fairly and can get to my later shows on time, but do I talk to the musician, the owner, or both?

ROFL. Our experience is that musicians often continue playing if they think they have the audience's attention, no matter what the dancer does to try to stop them, or what pre-performance agreements you may have. The excuse will be artistic license, ha ha. Of course, the main reason the audience is paying attention is because there is a dancer on stage with them. From the musician's point of view, if you dance for half-an-hour he gets the audience's attention for half an hour, no matter how distorted or uneffective the dancer/musician duet becomes.... try sitting down :)

Thanks for the great suggestions! After a few weeks of working together, I think the keyboard player and I became really synchronized. It's going very well now - and it really helps to have it be an ongoing thing; it can still be kind of hit-or-miss with the one-off situations where I'm dancing with someone I'm totally unfamiliar with. But now that these engagements seem to be popping up a lot more, I'm getting way more comfortable with it.

Thanks again!