The Megaphone – Liz Parker's Blog

Ah, page turning.

It’s always an afterthought, yet such an important job. The number of times I’ve been called in to page-turn at the very last minute – and the person asking doesn’t care if I’m wearing fuchsia. They just need someone, someone good, and quick. I’ve been turning pages for a long time now, since I was a teenager. I’m so used to turning for my pianist brothers, I have a pattern down with them – I show up early, go over their music, and follow them around like a newly-hatched, imprinted duckling.

If you are a pianist, here are a few things you should do to ensure things go smoothly.                                                                                   

-try to give the presenter as much notice as possible you need a turner. They need to find someone good; they need to tell the stage manager to include a chair by the piano; they may need to get accounting to cut a cheque if payment is involved.     

-be nice and smile at your turner. Chances are she was asked a couple of hours ago (and whose fault is that??), and is nervous, and if she’s young, probably a student who really needs that $50.

-if there are repeats within the open pages (meaning, no back turns required), mark them in red so the turner (and yourself, for that matter) knows where the eye should go.

-if there are repeats that DO require back turns, snip the corners of the pages. Then the turner can catch the right page to flip back to. Don’t fold them over; two pages will get caught.                                                                                                                                                                                                         

-if the piece is Philip Glass, promise the page turner that you will nod very clearly when to turn.

If you are a new page turner, here are a few things YOU should do to ensure things go smoothly.                                                           

-show up early and let the pianist know you’re there ASAP. Introduce yourself, shake hands, and be direct; say you have a few questions and ask to look at the score. The pianist will be relieved you’re on top of it and in control.                                                                                                                 

-questions to ask the pianist: Are there repeats? Are there movements that end on the bottom right page? If so, will you turn that page yourself? And if you do, mind if I mark in light pencil at the top of the page “don’t turn”?                                                                                                            

-are there any quiet “mood” spots where your hand is free and you’d rather turn yourself?                                                                                                       

-in the moments before going out onstage, would you like to be alone? If so, I’ll be nearby.

Other things for the page turner to remember:                                                                                                                                                                               

-take your cue from the pianist. She may be chatty before she goes out, or prefers a moment of quiet.                                                                                

-do not wear clunky bracelets.                                                                                                                                                                                                                                

-no shiny jewellery that catches the light.                                                                                                                                                                                                         

-do not bow with the musicians (this happened to my brother Jamie – the page turner bowed with the whole trio when it was over).                   

-do not speak to the pianist while she is playing.                                                                                                                                                                                            

-peek onstage and ensure a chair is there for you. If it isn’t, ask a stage hand to put one out for you.                                                                                     

-if you’re turning for a pianist who’s appearing with an orchestra, ask if you should be sitting at the piano in advance.                                                

-wear all black – nothing shlumpy. I’m not fond of the page turner who looks like an afterthought (unless you really are one…but still….one should be nicely dressed anyhow). Just because you’re not one of the performers doesn’t mean you shouldn’t look professional and pulled together.

One more important tip for the turner: be sure you know what the last piece is, and check with the pianist if you’re going to follow her offstage, or stay on. I once turned for Julius Drake, who was performing with baritone Gerald Finley. Julius was flipping back and forth between books, and not stacking “done” music on a pile on the left stand (something my brother Jamie always does); so I wasn’t sure when the concert was actually done. I forgot to check what the last song was. Since we agreed for me to stay out in between numbers, I panicked: when was the concert done? Do I go off? Do I stay out??? I couldn’t tell by the applause, either. Feeling a bit panicky, I gambled and stayed out. I felt awfully small and alone on the stage of Roy Thomson Hall, the whole world watching. Thankfully, they came back out, and Gerald introduced the encore. I exhaled.  And the applause was enthusiastic enough that the encore was definitely warranted – it’s not like my presence forced it. But still!! So don’t make that mistake.

If you have any page turning stories, either from the pianist or turner’s point of view, do tell! I’ll make that my next blog.

Liz Parker has been a page turner since the age of fifteen. She made her debut at the Orpheum Theatre turning for Jon Kimura Parker, who was performing with the Orford String Quartet. She has also turned for collaborative pianist Chris Foley (who specifically selected Liz for her perfect pitch; it was a very atonal piece by Canadian composer Howard Bashaw); collaborative pianist Julius Drake in recital with Gerald Finley; Emanuel Ax, and Jamie Parker of the Gryphon Trio. Liz has turned in Vancouver at the Orpheum Theatre and the University of British Columbia Recital Hall; in Toronto, Liz has turned at Glenn Gould Studio, Walter Hall at the University of Toronto, the York Club, Jane Mallett Theatre, Roy Thomson Hall, the Richard Bradshaw Ampitheatre, and Lula Lounge. Internationally, Liz was selected to turn pages at the Orcas Island Chamber Music Festival (off the coast of Seattle) which was a remarkable feat given she was still motion sick from whale-watching earlier that day. But she sat still and did not bob about. She also turned for Jon at a chamber music party somewhere on the Upper West Side in New York City. Liz Parker specialises in showing up early for the gig, doing repeats and remembering when to stay seated if the pianist wishes to turn herself. She also offers complimentary de-linting of the pianist’s outfit with a roller brush.