Structure and dynamicsThat's why having a clear and agreed structure is so important, so everyone - band and congregation - can move from one section to another with real confidence. Not only that, but the structure, and particularly the dynamics within it, gives life to the song. Sorting out the structure before you start running through a new song - rather than continually stopping and clarifying - will also save you a lot of time in rehearsal. Here's some things to think about...
Structure outline. Decide your overall structure before you start playing. Everyone in the band should have listened to the song by now, and know the structure of that particular recording. You can decide to keep the same structure, or change it if that's more helpful. You could print a structure outline on your charts, or get each member to make sure they write it down. Here's an example of a typical short hand method of writing down the structure...
8br int / V1 / Pre / Ch / 16br inst / V2 / Ch / Br / Br / Ch (cut) / Ch / 16br out
Hopefully that is pretty self explanatory. Its good to add little clarifying notes like the bar length of intros (which are often repeated), or arrangement notes like cut choruses (where the band stops) or builds.
Dynamic shape and arrangement. If you haven't already, agree upon a dynamic shape. Which parts will be quieter and stripped back, and which louder? Are there certain points where some instruments will cut out? Its also important to agree on how you are going to move between these dynamics - using slow builds, cuts, bringing different instruments in and out etc. It is good to develop your own shorthand for this as well - sometimes I will use squiggles and arrows, or a number scale - with "1" quiet and intimate and "5" bombastic.
"Inbetween" parts. Often the inbetween parts, such as intros and instrumentals, need the most clarification - while the lyrics and melody dictate the verse and chorus lengths, the inbetween stuff is often a little more malleable. Decide beforehand what your intros and outros will be - whether you use the recorded intro or a repeated chord progression or even an outro from the previous song - and how long.
Structural "anomalies". Its good to point out, and decide your approach, on any particular structural anomalies or quirks in the song. Examples of this would be the extra bar at the end of the verses in "Here I Am To Worship"...we're so geared up for symmetrical 4 bar patterns, that an extra bar can throw us...better to point that out first and agree on what to do with it. Another example is the bridge in "God of Wonders" - I've heard it done (and done it!) half a dozen different ways...decide before you start playing what you'll do with it!
As with other things in our preparation, deciding this now doesn't rule out spontaneity...but it is far better to have agreement among the band of the default structure as a starting point!
Trevor
ReplyDeleteI agree that the muso's should draw attention to God and essentially be unnoticed up on stage. Do you think it's possible that with practice, watchfulness and improved listening skills the same end can be achieved?
With my band i have focused on those skills as a way of getting the band connected and playing consistently - even on a new and unfamiliar song.
I found these skills helpful for when someone (usually me) forgets the predetermined structure and goes for an extra repeat on a tag or decides to double a chorus or repeat the first verse at the end of a song, without practicing it. As long as the drummer is watching me, and the bass player is watching both of us and listening, they can guide the rest of the band.
I know that it is worthwhile setting a structure (and i do this during rehearsal) and sticking to it for the lyrics presenter, but even they can learn to jump quickly to where they need to be.