This was particularly fun for me. I had the opportunity to introduce to a larger audience (the TESOL community of faculty and colleagues) one of the ESP contexts I work with. This was the penultimate project for Curriculum Development. I had five minutes to define this group of students, theri particular skill sets, and outline how ESP is relevant. My job, for whomever I work for, is to establish an English Lingua Franca for piano accompanists to work in various environments. Be it a studio of singers, or an opera house, accompanists, ie collaborative pianists, cannot rely on their native languages to communicate with European, or American institutions. Many Second Language Acquisition principles come into play during the process of scaffolding collaborative pianists. In particular there are cultural issues that are difficult to overcome. One of the elements that a young L2 musician must tackle is translation. This means that a pianist/coach must know how to talk about the meaning and the intent of a poetic text to another L2, who might or might not have the same cultural background. Very complex! Additionally, translating texts for singing actors means that you have to be able to discuss expressible, stageable intents. This is not only an intellectual exercise. Practicality is paramount. A singer cannot have her head filled with incomprehensible input, and then be expected to perform confidently. So paraphrasing becomes an issue. Awareness of suprasegmentals, eg pitch movement and stress, are essential to proper recitation of a text. The concept of Comprehensible Input becomes very important here. No matter how complex the tex, eg the ‘Mignon’ poems of Goethe, the ‘Songs of Travel’ of Stevenson, i+1 must be employed. So a good accompanist knows how to mitigate the cognitive overload that all singers experience.