Ssshhh...you sound GREAT!!!

This week I would like to expand on something I had said last week in “Wait for it...”:

“Sometimes one of the most musical things you can do is to not play anything. Then, when you do, it is something special.”

While last week I was referring mostly to solo instruments in an ensemble, this really applies to everyone in the group. Think about it: if we started every song with “1, 2, 3, 4” and everyone came in on the downbeat every time and played all the way to the end with no one ever dropping out, that would begin to lose it’s impact after the 2nd song! That’s not music. That’s everyone playing what they want until the song is over. There are no highs and lows. No contrast. Just a wall of sound from beginning to end. Instead, we need to listen and play our music in such a way that it starts to become an arrangement.

It could be as easy as telling the bass and drums not to play the intro and first verse. Instead, the bass could come in later, on the refrain. The drums could then start with some cymbal swells, light tapping on the cymbals, maybe a soft kick drum. At the next section of the song the drums would come in full, along with maybe a clean electric guitar. It depends on the song, but the possibilities are ENDLESS!!! You only have to make them happen and, honestly, it’s a lot more fun to play this way...for everyone. It’s musical, and that is always engaging.

Singers...the same goes for you (myself included). We need to stop having everyone in the group sing every note and every lyric from beginning to end...into the mic. Just like it’s important, for the sake of musicality, to vary the texture of the instruments, it is equally important to vary the texture of the voices. They are, after all, another instrument. Yes, sing all of the time, just not directly into your microphone until the song calls for it. Imagine if, during a violin concerto, some of the other violinists in the orchestra decided to play the solo part! Or, if during a (insert your favorite pop start here) concert, some of the backing singers decided to sing along on his/her verse! I know this situation is somewhat different; we’re not promoting/featuring a single person or artist...but we’re still talking about music! While the cantor/soloist leads their part, sing along with the assembly off the mic. When it’s time for group vocals or harmonies, lean back into the microphone and add to the sound!

Just think of an orchestra. Everyone doesn’t play all of the time. Some players have to rest for what seems like forever. But, when their part comes in...awesome. Remember that you are part of a group. Everything you do matters...even not playing or singing.

Wait for it...

Every week when we sing the “Glory to God” there’s a point where our trumpet player plays a phrase that seems to lift the music to a higher place. The music builds and you can almost see the assembly’s faces light up a little. You can’t help but be moved. It’s inspiring. Our collective voices get a little stronger as we continue to sing: “...with the Holy Spirit in the glory of God the Father! Glory to God in the highest!”  From week to week it’s wonderful to see people almost ‘waiting’ for that part to happen. Wanting it to happen.

Creating those kind of musical moments is an important part of what we do. It’s one thing to give an instrumentalist a part and say “Here is the part. Here is the intro. See you at the end!” (I’ve done that many times myself, I must admit.) It’s another to weave their part in and out of the music, letting it come out of the texture, and then lay silent for awhile. This is especially true when there are 2 or more instruments. I’m talking about arranging.

Hearing a flute, trumpet, oboe, clarinet...whatever...playing melody or descant the entire song, or even on every song, is not only poor arranging, it’s boring! The ear gets used to hearing it and almost tunes it out. It is no longer adding anything special. It’s just become part of the regular accompaniment, almost like a guitar or piano comping the chords. Instead, experiment with more creative uses: feature these instruments on the introduction, interludes, and instrumental verses. Lessen the accompaniment, if necessary, so it can be heard. Let these wonderful instruments add to the arrangement, not become lost in it.

Some composers are also skilled arrangers and have already thought a lot of this through for you. This is especially true for choral octavos with instrumental parts included in the score. It’s different, though, when we have to come up with a part on the spot, they have to read off of a lead sheet, or we’re only doing part of a song, etc.

You can find C, B-flat, and Saxophone & Brass instrument parts/books from many publishers, including WLP, OCP, and G.I.A. I was part of the editorial team that helped put together the instrument books for Voices as One volumes 1 & 2 (World Library Publications). With all of these books the challenge is to be creative with the music. Talented arrangers have created some wonderful parts for you to play, but every liturgy, every music group, and every situation is not the same. Just because it’s on the page does not mean you need to play it every time! I’m sure even they would tell you to arrange them in a way that makes them interesting, musical, and engaging for your assembly.

Remember, sometimes one of the most musical things you can do is not play anything. Then, when you do, it is something special.

Where have I heard that before?

I know I often fall into the habit of always choosing a “Communion Meditation” song or “Song of Meditation,” or “Song After Communion,” or whatever name we give it. Lately, however, we have been doing something a little different at my parish. Instead of choosing a different song for that moment, we have been reprising one of the earlier songs we’ve sung that morning. It might be the gathering song, the offertory song, or maybe even the Psalm. Usually, the instrumentation is lighter, at least at the beginning, and it usually ends with the assembly singing unaccompanied. It’s often NOT the entire song–maybe just the refrain, or one verse and the refrain. (Perhaps we’ll sing a verse or a bridge that we didn’t sing earlier.)
I’ve found that this is particularly effective when you’ve introduced a new song that morning...one the assembly hasn’t quite learned, yet. This does two things: 1) It solidifies the melody in the assembly’s memory, and 2) It solidifies the text (lyric) as well. What we sang earlier still applies now! It’s a great way to bring back a theme, or a point in the gospel that was addressed in the homily. It really helps to tie things together.

Don’t be worried that it’s some sort of a ‘cop out’ or a way of avoiding having to choose another song. Instead, think of it as an effective means of engaging the assembly. Remember that our job...our role...as music ministers/leaders is to lead the assembly, not sing for them.

Sometimes leading means getting out of the way! Instead of having the whole band/group play the song as they did earlier, just use guitar and piano, or just one instrument along with a few voices. Let’s let the people hear themselves sing. It’s a wonderful, prayerful, moving sound.

When all else fails...sing!!!

Picture this: a beautiful (hot) sunny day, 150 or so people (parents, teachers, and kids) 50 or so household pets...and a sound system that just refuses to work. That was the scene as we got ready to celebrate a pet-blessing outside of our church last week. It was just one of those things. All of the preparations had been made. Everyone had done their job. It just so happened that a sound system we ALWAYS use decided to go crazy. As I looked up from my last failed attempt to get it to work, the pre-school director said, “Were ready.”  I looked at my wife who was there to sing with me while I played keyboard. We just sighed, shrugged our shoulders, and walked over in front of the assembled guests. I said something like, “Well, the sound system doesn’t work, but our voices do!  Let’s sing!”  We led everyone in a couple of choruses of “Blessed Be Your Name” by Matt Redman. Everyone clapped their hands to the beat...and it worked just fine.

That is pretty much out of my comfort zone!  I would much rather be behind the piano, even if I’m not playing it, but sometimes we must stretch ourselves to do what is needed. The important thing was to engage the kids in song as we began our liturgy. Using that chorus worked great. They didn’t need to hear a piano or a cantor singing verses. In hindsight, what we did actually worked better. It was MORE engaging and a lot easier to set up!

So, once again I was reminded of a lesson I often forget: when all else fails...sing! The voice is the ultimate instrument. Everyone has one and knows how to use it.

Of course, it’s really important to choose a song everyone knows and sings well without accompaniment. The other songs we did that day were:

Give Thanks to the Lord (Tom Booth/OCP)
Let All Creation Sing Alleluia! (Paul Tate/WLP)