This is for my musician friends. Theres something I wish all schools and mentors of rhythm section players would teach in a deeper, more explicit way, and that is the concept of support. Maybe we can talk about it here. I feel its the single most important aspect of what we can do-- its what makes a good accompanist. I know lots of great rhythm section players on here, and I hope theyll add to this set of unspoken guidelines that I just made up. 1) Support the vocalist (or soloist) with your dynamic level. If theyre in their lower register or singing/playing softly, then its probably best that the rhythm section not overpower them. But just as important-- If theyre in the upper register or loud, then dont leave them hanging and exposed, unsupported (unless its for a specific, desired effect). Be the groundswell that supports them 2) Support the vocalist (or soloist) with the density of your texture, as well as with your dynamics. Something very wordy and low-register (or something very delicate) might get trampled on by a busy accompaniment. Less can be more. On the other hand, something very intense and combustible might need a lot of fuel and spark. 3) Sometimes the best way to support a vocalist or soloist is to frame them, by playing in the holes/spaces they leave. Other times its best to cushion them by playing supportive material underneath in a complementary, buoyant way. Experience will be your guide as to when each is indicated, but very often both roles will be needed, and attended to by different members of a (good) rhythm section. 4) Your sound/timbre/tone and the register/range of your accompaniment are as much a part of your supportiveness as the rest of the aspects. A lighter, airier tone or a high-register part is sometimes needed to leave space for the lead voice; sometimes a meatier sound and part is needed to support them. This depends to a large degree on the lead voices tone and register/range... opposites often attract. 5) If playing with a vocalist, make sure you can understand every word. If you cant, then youre probably either playing too loud, too busy, too thick-sounding, or at not-the-most-supportive times. 6) If your attention drifts from what is happening within the group dynamic and onto what YOU are doing, then you are not accompanying-- youre just playing at the same time as the other musicians. Great music seldom happens that way. 7) Mimicry is not always supportive. Very often young musicians (particularly formally schooled ones) have heard about group interaction and make it a point of pride to latch onto figures that soloists or other musicians are playing. Yes, it proves youre listening, but does it always inspire the soloist to new heights or make the most interesting music? 8) The rhythm section as a cohesive, supportive whole can be even that much more compelling than individual musicians being supportive on their own. Your dual role is to support the lead AND to form a cohesive unit with the rest of the section. If your drummer is particularly locked in with a soloist, then it can work to put a bit of your energy toward connecting with that drummer in some supportive group interplay behind that soloist. 9) When in doubt (about harmony, form or anything) lay out. But ONLY if it can be done as an intentional texture change, and doesnt leave the lead voice totally hanging! If the lead voice needs you and youre uncertain, then its time to get creative and figure out how to be both lost and supportive at the same time. 10) Finally-- support the soloist or lead emotionally. This is harder to describe or quantify, but they need to know youre there for them. Shade or vibe during performance is almost more palpable than anywhere else. The vocalist or soloist will never perform their best if theyre getting the sense that the rest of the ensemble isnt believing. Theyll never make the audience believe in that situation, either. Approach each musical situation with the idea that youre going to make the best music possible. Have the attitude that were going to lift this performer up (even if theyre less experienced) and make them perform better than they ever have before. Bonus #11-- Producers and mixers who also good players are often very strong accompanists. I believe its because theyve spent a lot of time figuring out what parts are necessary to support and frame a lead voice, and trimming the fat from arrangements. As accompanists were really arranging on-the-fly and producing and mixing the performance in real time, also.
Posted on: Tue, 30 Sep 2014 15:47:16 +0000
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