Has this ever happened to you?
You take lots of time during rehearsal to EQ everything. The pianist plays a bit and you adjust the highs and lows so that it sounds nice and warm, full, round…it sounds great. Then the guitarist does the same and you adjust the EQ, again making it sound nice and full, warm, round, etc. Then you do the same for the vocals, adjusting everyone’s mic so that they sound fabulous.
During the intro of the song the piano (or guitar) sounds great, along with the cantor, or soloist. Then the band comes in and it sounds like…mud.
What happened? Everything sounded awesome when it was playing alone. Suddenly you can’t hear the piano, so you turn it up. Now you can’t hear the guitar so you turn it up, too. Wait…the vocals are getting lost…turn them up! Turn everything up! Why are the monitors feeding back? I want to go home!
Many times it’s all about the EQ, or equalization. I don’t want to get too detailed here. First, I am not really qualified to do so, and secondly, there are many others who are better at explaining this than I am, but put simply: there is only so much room in the “sound” we are listening to for low frequencies (like drums and bass guitars) and only so much room for higher frequencies.
In other words, we can’t let the instruments get into each other’s ‘space.’ Since the bass guitar is dwelling in the low end of the sound, keep other instruments away from there or things will get all muddy or mushy as they bump into each other. Playing low synth pads alone, for example, sounds awesome…big and full. But, as soon as the bass guitar comes in, that synth player has to leave the left hand out or it will collide with what the bass player is doing.
In a solo acoustic guitar performance you want that ole’ six string to have a full sound, covering the lows and the highs. When playing with a band, however, the bass guitar and drums will be covering the lows. If you want the acoustic guitar to cut through, you need to “roll off” the low end and brighten up the sound. By itself it will sound rather thin and empty, but in the full band mix it will fit very nicely into the spectrum.
The same goes for vocals. Be careful how much low end is in there. Get the singers to move in closer to the mic. That proximity (nearness to the microphone) will give it a warm sound. Then you can roll of the lows (decrease the amount of low frequency) and brighten it up. Plus, if they move in closer, you won’t have to turn that mic up as much. Less feedback. Always good.
You’ll be amazed at how the sound will just clear up. You won’t need to keep turning things up to 11 in order to hear them. It gets easier on the ears, too.
This just goes to show that getting some trained, professional ears to help you is vital to sounding good. Remember, the assembly is going to listen to you on and off for about an hour! They deserve to have good sound projected at them. Consider hiring a pro to come in and set some eq’s during a rehearsal. If you have a digital board, great. It will remember the settings. If not, take a picture with your cell phone or digital camera and keep it handy in case something gets moved.
Tuesday, May 31, 2011
Wednesday, May 25, 2011
Excuse me, FLOw?
To me, 'flow' is a very important part of an engaging liturgy.
So, I'm not one for singing EVERY verse of a song just because it's there.
I, for one, don't insist that people sing every verse of one of my songs just because I wrote them!
Maybe it's different when you are singing something like the Beatitudes, or a setting of the Prayer of St. Francis. The text would be incomplete without the whole thing. Most songs aren't like that, though. For example, I know when I've written songs for Communion, my publisher has sometimes asked me to simply "add some more verses so it can be longer."
For those of you who might be thinking, "Ed, the text is very important!" I do, of course, agree. It most certainly is. No argument there. The gathering song, for example, isn't 'filler' until the presider reaches his chair, but it doesn't need to go to the other extreme either.
Again, to me, 'flow' is a big part of the liturgy.
For example, today I played for a funeral and the family had chosen "Here I Am, Lord," by Dan Schutte for the Entrance Procession. Well, it was a pretty small gathering and the family didn't process in. By the time we had finished verse 1 and the refrain, it already seemed like it needed to end. It didn't feel right to sing ANOTHER verse followed by another refrain. I think what might have been a better plan would've been to sing the refrain first, then verse 1, then the refrain again. Or, I could've just sung another refrain. The point is, creating the right 'flow' with the right amount of 'pacing' is vital, I think, to the liturgy. When something feels forcibly lengthened, or seems to drag on, it ceases to engage the assembly.
So, I'm not one for singing EVERY verse of a song just because it's there.
I, for one, don't insist that people sing every verse of one of my songs just because I wrote them!
Maybe it's different when you are singing something like the Beatitudes, or a setting of the Prayer of St. Francis. The text would be incomplete without the whole thing. Most songs aren't like that, though. For example, I know when I've written songs for Communion, my publisher has sometimes asked me to simply "add some more verses so it can be longer."
For those of you who might be thinking, "Ed, the text is very important!" I do, of course, agree. It most certainly is. No argument there. The gathering song, for example, isn't 'filler' until the presider reaches his chair, but it doesn't need to go to the other extreme either.
Again, to me, 'flow' is a big part of the liturgy.
For example, today I played for a funeral and the family had chosen "Here I Am, Lord," by Dan Schutte for the Entrance Procession. Well, it was a pretty small gathering and the family didn't process in. By the time we had finished verse 1 and the refrain, it already seemed like it needed to end. It didn't feel right to sing ANOTHER verse followed by another refrain. I think what might have been a better plan would've been to sing the refrain first, then verse 1, then the refrain again. Or, I could've just sung another refrain. The point is, creating the right 'flow' with the right amount of 'pacing' is vital, I think, to the liturgy. When something feels forcibly lengthened, or seems to drag on, it ceases to engage the assembly.
Tuesday, May 17, 2011
Some cool stuff to help with planning...
If you haven't already heard, CCLI has released a Church Rehearsal License which allows you to legally send audio files to your musicians and singers...for rehearsal purposes. These are the actual studio recordings...not your own demos. The way it works is very similar to their normal reprint license. You pay for a certain number of audio files. Each one sent or received counts as 1. It's VERY affordable and, might I add, a great idea. Now artists and songwriters can benefit from people using their recordings to learn, and later perform, their songs.
I have often said, "don't feel like you have to sound like the recording." I am still saying that. However, the studio recording WILL give you the original 'vibe' of the song. From there you can proceed to custom-arrange it for your particular need in the liturgy. Change the key, change the map, simplify a rhythm, etc.
Check it out at www.CCLI.com
Couple that together with this...
I have just started using an online planner called Planning Center Online. (www.planningcenteronline.com) With this utility you can create custom 'services,' invite musicians to play, attach sheet music (PDFs), attach mp3's...and more. Your musicians and singers can update their profiles with contact info, days they will be away, etc. You can indicate what the 'map' of each song will be (i.e. Verse 1, Chorus, Verse 2, etc.) You can even show stage plots, schedule A/V personnel, indicate timelines, and more. Your musicians and singers receive an invite via email where they click "ACCEPT" or "DECLINE" or "VIEW THIS SERVICE." You are immediately notified of their answer and their name is placed in their particular spot in the service. There is a monthly fee, again very affordable. This is only my second week using it, but so far it seems pretty cool! Check it out: www.planningcenteronline.com
I have often said, "don't feel like you have to sound like the recording." I am still saying that. However, the studio recording WILL give you the original 'vibe' of the song. From there you can proceed to custom-arrange it for your particular need in the liturgy. Change the key, change the map, simplify a rhythm, etc.
Check it out at www.CCLI.com
Couple that together with this...
I have just started using an online planner called Planning Center Online. (www.planningcenteronline.com) With this utility you can create custom 'services,' invite musicians to play, attach sheet music (PDFs), attach mp3's...and more. Your musicians and singers can update their profiles with contact info, days they will be away, etc. You can indicate what the 'map' of each song will be (i.e. Verse 1, Chorus, Verse 2, etc.) You can even show stage plots, schedule A/V personnel, indicate timelines, and more. Your musicians and singers receive an invite via email where they click "ACCEPT" or "DECLINE" or "VIEW THIS SERVICE." You are immediately notified of their answer and their name is placed in their particular spot in the service. There is a monthly fee, again very affordable. This is only my second week using it, but so far it seems pretty cool! Check it out: www.planningcenteronline.com
Friday, May 13, 2011
Song Suggestions...and Refrains
A few song suggestions and performance ideas:
“Christ Is Risen” by Mia Fieldes and Matt Maher is a wonderful song for the Easter Season and beyond. The text is great. The melody is very simple, yet also interesting and fun to sing. On the recording, Matt starts with an intro, followed by Verse 1, followed by the Refrain. At my parish we were going to introduce this song at the Preparation of the Gifts on Sunday with NO time to rehearse with the assembly. So, instead of following the recording we chose to start with the Refrain. We began with just piano, guitar, and a single voice. Then we repeated the refrain with more voices and more instruments. The bass came in on the verse immediately after while the drums came in full once the Refrain came back. By doing it this way the assembly had a chance to hear the refrain twice before they normally would have, and the song ramped up nicely. They caught on quickly and the song worked great.
We have been using “Alle, Alle, Alleluia” by John Angotti (WLP) for our Gospel Acclamation this Easter. We actually perform it pretty much like the recording, though I play the intro on piano instead of guitar. I think it’s important to point out to the rhythm section that the drums and bass play ON the beat while the vocals sing on the off-beats (on the “Alle, alle” part of the refrain.) That’s what gives it the ‘feel’ you hear on John’s recording. There are three verses in the score, each one of them different both in words and music. We’ve been changing it up each week. Verse 2 adds a nice modulation to give it another ‘lift.’
Alle, Alle (Angotti) - WLP
“Blessed One” by Aaron Thompson (WLP) is a beautiful song to our Blessed Mother. There are 4 verses with wonderful text followed by a refrain that simply says:
“Ave, ave, ave, ave, ave, ave, Blessed One.”
Aaron does a great job of changing up the chords in the refrain while the melody stays the same. Even though you are singing the same melodic figure three times, it doesn’t seem like it since the chords are changing underneath. BUT…it makes it very easy to learn and sing.
Many times I have led the assembly in just singing the refrain a few times. It’s beautiful enough to hold its own, plus it takes no time to learn it. I plan to use it this weekend for the May Crowning at St. Ann’s. Take a listen and you’ll see what I mean.
Blessed One (Thompson) - WLP
It is often effective to begin a song with the refrain, even if the sheet music and recording do it differently. It enables the assembly to get familiar with the text and melody more quickly. Otherwise, I have found that, after playing an intro, verse, and a pre-chorus, we might get to sing the refrain a couple of times...that's all. My goal is to always engage the assembly as soon as possible. This is not to say that the assembly shouldn't sing the verses...of course they should. Usually, though, the refrain is the easiest to learn first.
It's also an effective way to lengthen a song. If you begin with the refrain (maybe even twice) you can then, essentially, 'start over' from the beginning.
“Christ Is Risen” by Mia Fieldes and Matt Maher is a wonderful song for the Easter Season and beyond. The text is great. The melody is very simple, yet also interesting and fun to sing. On the recording, Matt starts with an intro, followed by Verse 1, followed by the Refrain. At my parish we were going to introduce this song at the Preparation of the Gifts on Sunday with NO time to rehearse with the assembly. So, instead of following the recording we chose to start with the Refrain. We began with just piano, guitar, and a single voice. Then we repeated the refrain with more voices and more instruments. The bass came in on the verse immediately after while the drums came in full once the Refrain came back. By doing it this way the assembly had a chance to hear the refrain twice before they normally would have, and the song ramped up nicely. They caught on quickly and the song worked great.
We have been using “Alle, Alle, Alleluia” by John Angotti (WLP) for our Gospel Acclamation this Easter. We actually perform it pretty much like the recording, though I play the intro on piano instead of guitar. I think it’s important to point out to the rhythm section that the drums and bass play ON the beat while the vocals sing on the off-beats (on the “Alle, alle” part of the refrain.) That’s what gives it the ‘feel’ you hear on John’s recording. There are three verses in the score, each one of them different both in words and music. We’ve been changing it up each week. Verse 2 adds a nice modulation to give it another ‘lift.’
Alle, Alle (Angotti) - WLP
“Blessed One” by Aaron Thompson (WLP) is a beautiful song to our Blessed Mother. There are 4 verses with wonderful text followed by a refrain that simply says:
“Ave, ave, ave, ave, ave, ave, Blessed One.”
Aaron does a great job of changing up the chords in the refrain while the melody stays the same. Even though you are singing the same melodic figure three times, it doesn’t seem like it since the chords are changing underneath. BUT…it makes it very easy to learn and sing.
Many times I have led the assembly in just singing the refrain a few times. It’s beautiful enough to hold its own, plus it takes no time to learn it. I plan to use it this weekend for the May Crowning at St. Ann’s. Take a listen and you’ll see what I mean.
Blessed One (Thompson) - WLP
It is often effective to begin a song with the refrain, even if the sheet music and recording do it differently. It enables the assembly to get familiar with the text and melody more quickly. Otherwise, I have found that, after playing an intro, verse, and a pre-chorus, we might get to sing the refrain a couple of times...that's all. My goal is to always engage the assembly as soon as possible. This is not to say that the assembly shouldn't sing the verses...of course they should. Usually, though, the refrain is the easiest to learn first.
It's also an effective way to lengthen a song. If you begin with the refrain (maybe even twice) you can then, essentially, 'start over' from the beginning.
Wednesday, May 4, 2011
I usually plan to plan with a planner...at least that's the plan
There are a lot of good, useful liturgy planners out there for music, including:
AIM (World Library Publications/J.S. Paluch Co., Inc.)
Today's Liturgy (Oregon Catholic Press)
G.I.A. Quarterly (G.I.A.)
Liturgy Planning Guide (Life Teen)
All of them provide helpful, useful information and ideas for planning the music for your upcoming parish liturgies. Instead of relying on a single resource (like one of the above) I usually lay out ALL of those and get a lot of different points of view. Most companies that publish planners typically suggest their own copyrighted music (or public domain titles) for the majority of the song/hymn suggestions. That's fine, which is why I like to have a larger base from which to choose. At St. Ann's, we don't stick with one hymnal, one publisher, or one resource, or even one style of music. We draw from everywhere. We use everything from traditional to contemporary worship music for our liturgies.
I think it's important to say that, just because it's written in a planner, it doesn't mean you HAVE to incorporate those suggestions, or that they're even right for YOUR next liturgy at YOUR parish. They are suggestions. They are meant to be a helpful tool as you make the best decisions for your liturgies.
You may find that a lot of the songs you would choose aren't listed there. Often times it's impossible for publishers to list every option, so they may choose to go with a reliable stand-by or something new and fresh for a particular suggestion. Just know that the planning guides are not 'law;' they are not 'required.' They are not 'official.' They are suggestions. Use your best judgment, but use the planners. They could be just what you're looking for, or show you something you would have never thought of yourself, or even lead you to new ideas.
AIM (World Library Publications/J.S. Paluch Co., Inc.)
Today's Liturgy (Oregon Catholic Press)
G.I.A. Quarterly (G.I.A.)
Liturgy Planning Guide (Life Teen)
All of them provide helpful, useful information and ideas for planning the music for your upcoming parish liturgies. Instead of relying on a single resource (like one of the above) I usually lay out ALL of those and get a lot of different points of view. Most companies that publish planners typically suggest their own copyrighted music (or public domain titles) for the majority of the song/hymn suggestions. That's fine, which is why I like to have a larger base from which to choose. At St. Ann's, we don't stick with one hymnal, one publisher, or one resource, or even one style of music. We draw from everywhere. We use everything from traditional to contemporary worship music for our liturgies.
I think it's important to say that, just because it's written in a planner, it doesn't mean you HAVE to incorporate those suggestions, or that they're even right for YOUR next liturgy at YOUR parish. They are suggestions. They are meant to be a helpful tool as you make the best decisions for your liturgies.
You may find that a lot of the songs you would choose aren't listed there. Often times it's impossible for publishers to list every option, so they may choose to go with a reliable stand-by or something new and fresh for a particular suggestion. Just know that the planning guides are not 'law;' they are not 'required.' They are not 'official.' They are suggestions. Use your best judgment, but use the planners. They could be just what you're looking for, or show you something you would have never thought of yourself, or even lead you to new ideas.
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