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Putting a band together, Part 3

5/30/2012

You have your band together, whether it be just a duo or trio or something larger. You know a couple dozen songs reasonably well, at least to the point that you won’t embarrass yourself playing them in front of people. Now it’s time to get a set list or two together. This is a basic order of play of your songs and you should be prepared to have at least two set lists in place before you go looking for gigs.
Plan the set lists with a faster tune at the beginning and end of each. As I mentioned last time, starting with something of a bang will show enthusiasm and this will be immediately picked up by your audience. Sets should be at least 45 minutes in total and a bit longer is better. If you’re going to be doing a “show” at a bar where the music doesn’t start until after 10 p.m. you should plan for one long set. If you’re fortunate enough to have a couple people who can handle lead vocals, try to split up the songs to feature each. Depending upon the type of music you’re playing of course, audiences are always impressed by tight arrangements, solid beginnings and endings and especially by vocal harmony. If you have a couple tunes that you see as your showpieces, hold them until at least the middle of the show – don’t play them too soon or you may have a tough time equaling the impact of those one or two tunes.

It’s time to go out there and hustle work. I won’t pull any punches here. This can be and usually is a frustrating, even maddening exercise. Utilize every connection you may have. Don’t be at all surprised if you have to contact the person making the decisions at least three times before you get something like a definite answer one way or another. That’s when the frustration can really be hard to take!

Of course I’m assuming you’re going out there armed with something like a CD to showcase your work. We are fortunate these days to have available to us inexpensive, absolutely excellent home recording units and computer interfaces that will allow you to make a pretty good demo CD, or to upload your songs to a site that hosts bands and music for low or no cost like MySpace. All you need is three or four tunes to use for this purpose; you can make your best selling album later!

In spite of having a CD or a slick web presence don’t be surprised if the bar owner or promoter wants you to do an unpaid audition or even play a night for free. This is a very, very delicate situation about which musicians have been arguing for generations. My own feelings about this have gone in each direction many times over the years. I know there are pro players who would disagree with me, but these days I say – sure, go ahead, do it. At worst you’ve lost a few hours time and at the very least you’ve tested yourself in front of a live audience. But understand this: by playing for free you have made a statement about the relative worth of your music. Bar owners recognize this and it sets you up to be paid less than you might be if you stick to your guns and risk rejection. It is totally your call and if you really, really want to play at a particular venue you should agree to the free audition. Don’t say I didn’t warn you!

Don’t fall for the line I’ve heard many times from bar owners and promoters that goes something like – play for a pittance now and I’ll pay you more when you’re established. If this has ever really happened I want to know about it! What you get paid at the first gig is what you’ll be paid for the last one. Believe it.

On a more positive note (no pun intended!) you can often find plenty of opportunities to play for no pay at events that may be excellent showcases for your act, things like local summer concert series or charity events. These can be really fun and in contrast to a bar situation you will have an audience that is attentive and receptive to what you play, and forgiving too if your act still needs some polishing. Charity events put your act in a good place in terms of the perception of the audience, too.

Really, the bottom line is this. Playing in a band is fun and absolutely essential for you to grow as a player. So take advantage of playing situations whenever you can, develop a thick skin when dealing with bar owners and promoters, and believe in what you’re doing. My guess is that the guys in the band that played at Caesar’s parties would tell you the same thing!

Peace & good music,

Gene

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Putting together a band, Part 2

5/19/2012

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Putting together a band, Part 2

So let’s assume you’ve gotten together with another guitarist and you found some common musical ground. The next step is to build a set list. Sure, it’s fun to get together a few times and just play the same few tunes but to perform in front of a crowd, even at a party (a good first “gig” that I’ll talk about in the next installment), but you’ll need at least a dozen or so songs to even think about putting it out there.

Mixing up slow and faster songs is important. This keeps interest level high. Beginning with an up-tempo song is far better than starting with a slow one because it shows enthusiasm, which is contagious. Professional bands always start with a bang and then often settle into the building of something like a climax in the performance. In recent years I’ve seen quite a few bands that feature a section of slower, more intimate songs in the middle of the show, then begin building toward a big finish. This is a great way to do things assuming you know enough tunes. In the various groups I’ve played with if we were playing three sets in a bar we would often use our slower or moderate tempo stuff in the middle set. These days it seems that bar gigs often consist of one fairly long set, more like a “show” – the term “gig” is rather passé` these days I fear – and in that situation the building of the set is more critical for success.

Each time you get together for a practice session, try to bring along a new tune or two to try. The new ones may or may not work or seem worthy of work but throwing them out there may serve to make you and your musical mate or mates think of more new tunes to try. Be sure to take the time to download and print at least the lyrics and changes for the next rehearsal, which will save a lot of time compared to simply demonstrating a song to others.

The next logical addition to your fledgling band is a bass player. Unfortunately, bass players are often difficult to find and it may be necessary to purchase a bass and each guitar player learn to play it at least in the most elemental way. In acoustic bands it is great to have someone who plays stand-up bass but those players are even rarer than the ones playing electric. But the sound of a stand-up is great with acoustic guitars.

Next you may want to add a drummer or percussionist. This will be perhaps the most difficult task of all in putting together a band, not because of a lack of drummers but because few inexperienced drummers really know how to rehearse. I know that sounds like a big dis of drummers but believe me, it is a fact. Drummers ALL want to POUND – that after all is coolest thing about playing those things! – and worse yet, many don’t understand the importance of putting down the sticks between songs so the melodic instrumentalists can communicate about elements of a tune that will need work. Many drummers find this process incredibly boring and will begin to slip into random taps, raps and bangs until it gets to the point that no progress is being made and the song in its entirety (when the drummer will finally get to play) becomes impossible to achieve. Someone has to be willing to say to the drummer – hey, please be quiet for a minute! This is fraught with peril form an ego perspective. Be very careful how this problem is broached or hurt feelings or worse can be the result.

This brings up another issue. In almost all cases, someone has to function as something of a leader in rehearsals. It would be wonderful a rehearsal could move along without one but that is hardly ever the case. Without a doubt, this is the most delicate problem that most young or inexperienced bands face. What usually happens is that without it being stated or recognized someone falls into the role. That person is the one who needs to keep the rehearsals from becoming random jam sessions or ineffectual noodling. “Hey, let’s try (fill in the blank),” is all that needs to be said. If one member of the group knows a song better than the others he or she should be willing to show and demonstrate it without recrimination if the other member or members seem unable to play it. The worst thing you can so is lose your temper or let frustration with bad playing become a verbal assault. I did that once, and sad to say, it was the first major crack in a good band that soon after came crashing down. I regret my words to this day. Suck it up, shut up, and keep practicing. It’s fine and necessary to explain and demonstrate the right way to play something, just don’t let it get personal.

At this point in the growth of your band it may be time to think about bringing in other instruments, especially ones that have a different tonality than what you already have and can take solos. A saxophone or other brass instrument, flute, harmonica, ukulele, mandolin, dobro or fiddle can really add depth and interest to the sound of any band. Keyboards are fantastic additions but using one will require work so the guitars and keys aren’t playing essentially the same thing. If you’re lucky enough to find someone who can play a couple of those instruments you’ve struck it rich! And if that person can sing too, well, call me up. I want to join your band!

Next I’ll talk about the all-important next step: putting it out there. Getting gigs. Oops, I mean “playing shows.”

Peace & good music,
Gene

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Putting together a band, Part 1

5/9/2012

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It’s almost impossible to define what makes playing music with others such a satisfying experience. Perhaps it has something to do with a different level and type of communication. When things go right and the music comes together it can be a truly transcendent experience, something to be enjoyed by both the players and anyone listening. All you can think of is – wow, that was great, I can’t wait to do it again! That’s why I urge all my students to try to get together with others to play. There are things you learn and experience playing with others that are impossible to find on your own regardless of how much you practice or even in a performance situation as a single.

A couple of my younger students are trying to put together a band and they are going through all the growing pains that process entails, and of course the pure fun of it too. One of them asked me what I look for in a band when I’m joining or forming one. Here are some of the things I told him. Please keep in mind as always, these are my opinions only and as they say, “your mileage may vary”!

In most cases, assuming you’re not jumping into a band that already exists, evolution is a big part of the process. Of all the bands I’ve played with there was hardly ever a time when we thought what we had was an end product. Keeping the door open to other players makes things interesting – new sounds, new ideas are always a good thing. But let’s assume you’re starting from scratch. In most cases guitarists look for another guitar player to begin with because it will (hopefully!) be easier to communicate musically with that person than someone playing a different instrument. However, right from the start it’s important to understand one thing: someone has to sing! The fact of the matter is, if you’re ever going to perform in front of an audience it will be the vocals that will initially be of interest, not how many hot licks you know. The more singers a band has, the better. This is not to say you have to be a great singer, just someone who is willing to give it a try and can stay reasonably in tune. I could write a few blog entries about this subject and relate stories of my own singing and what I’ve heard from others but for now look at it this way. Singing is an acquired skill like everything in music and the more you do it the better you will be. Some are naturally better at it than others but what really matters is going for it, putting it out there…. Sounding like you mean it! No one has every accused Mick Jagger of having a great voice, but he sure sounds like he means it (!). Especially these days with the popularity of karaoke and reality television music shows, audiences are more forgiving than ever of attempts to carry a tune. And more appreciative of someone who can!

So let’s say both you and the other guitarist can do some singing. The next step is to get together and try some tunes. Don’t go into this with unreal expectations. It’s not a question of failing or succeeding in putting together a band, in the beginning at least. It’s just about having some fun and seeing what happens. Ideally both players have similar tastes and interests in music and are at least somewhat on the same level of playing. Two players of widely different levels of ability don’t usually stay together because it ends up being frustrating for both. Kind of like two tennis players when one can hit a 100mph smash serve with accuracy and the other can hardly clear the net. But some variation in level of ability can be a good thing because both players can end up being better at listening and matching their playing to what the other is doing.

The question of musical interests is trickier. With the wide range of musical styles and tastes we’re exposed to today it is imperative to keep an open mind about what constitutes “good” music, or more accurately, what you’re willing to put in the time to learn. We all have our favorite types of tunes and artists and hopefully you and your new playing partner share some common ground there but be sure to give new styles and songs a chance. This just one instance in the cooperative playing process where learning to control that evil thing called ego is absolutely necessary. Think about this fact before, after and always when you’re playing with someone else because ego issues are the number one killer of bands.

Assuming you’ve gotten together with that other guitarist and things went pretty well the next step is really two fold: building a repertoire and deciding when and how to bring in other players. I’ll talk about that in my next entry.

Peace & good music,
Gene

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Aaaaah! Stop hurting my ears!!!!

5/6/2012

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Do they just not hear it, or what? Incredibly awful sounding amplified acoustic guitars in the hands of allegedly professional musicians, I mean. Last week I spent a few days down in the Florida Keys including three nights in Key West, a place I’ve visited a few times before and really enjoy (how can you not like KW?!). While I didn’t do an official Duval Street Crawl as in my younger days I did hear many single performers singing and playing acoustic guitars. I seriously doubt there is anywhere in the U.S. that has so many bars in such a small area that hire live musicians. One or two were OK; most were very loud and quite awful. I know that sounds terrible and perhaps egotistical but ya gotta call ‘em as ya see ‘em.

Actually, maybe a couple of them – men AND women, by the way – would have sounded better with one simple change in their acts. And that would be to invest in a decent sounding amplifier, sound system, or on-board guitar pick-up. Perhaps all those things. Beating up a guitar does not generate excitement or interest and if you combine that “style” of playing with the raspy, harsh, abrasive sound of a poor sound system or cheap electronics in a guitar you have a recipe for being very, very annoying, at best.

Wait a minute, Gene, you may be thinking. These are bars, not concerts for goodness sake. Being loud and piercing and in-your-face is a time honored tradition in bars that have live music. The idea is to get people drinking and keep them drinking, At some point the music may even begin to sound, uh, good (??).

Here’s the thing. Ten or twenty years ago there may have been a shred of validity in that line of thinking but not today. As with almost everything electronic, guitar amplification has come a long way in a short amount of time. For a few hundred dollars anyone can buy an amplifier specifically designed to be used with acoustic guitars that sounds very, very good. If someone is willing to purchase a guitar with a high quality pick-up and a few add-ons like a tube pre-amp are used the sound that comes out is almost as good as what you hear on a home stereo system or through earphones and an MP3 player. Even an average quality acoustic guitar can be retro-fitted with a superb sounding pick-up for relatively short money.

So why do we still hear that annoying, tinny sound coming from performers, not just in Key West but everywhere? In some cases it may be out of the performer’s control. I know a local bar owner who insists that performers use his house PA system, which makes everyone playing there sound like they’re singing with a pillow over their head and thousand dollar guitars sound like something made out of an old cardboard box. I suspect that this bar owner doesn’t want a performer using a superior system of their own because his regular customers would realize just how crappy his system really is. He is a notoriously umm…. frugal guy so he’s not likely to buy something new. In this case the performer is stuck. Go there and do a gig and sound like crap, regardless of how good a performer really may be, or don’t do the gig at all.

I’ve also witnessed performances by individuals and bands who had more than adequate electronics but just didn’t know how to adjust and use the stuff to its maximum capability. To me, this is just laziness, an addiction to the “plug in and play” mentality of today’s electronic devices of every type. Sure, we all want the process of setting up and doing a sound check to be quick and easy (hey wait! What’s a sound check?! Just kidding…. ) but while you may be able to zero in on basic settings of things like volume and equalization, every room has different characteristics when amplification is used. Having someone you know and trust stand in different places in a room and carefully listen to the sound you’re getting is essential in my opinion.

Another issue is something over which the performer has no control: crowd noise. Every performer I know, myself included, has at some point succumbed to the temptation of battling the crowd for auditory supremacy. The crowd grows as the night progresses, the drinks flow and talk gets louder. Pretty soon the music becomes a droning undercurrent in the cacophony and the performer has but two choices. Play louder and it’s likely the crowd will just shout more until everyone realizes it’s impossible to carry on a conversation – and that’s the band’s fault, right?! Or the band or single performer can just suck it up and keep on playing at a reasonable level, knowing that few if any of the crowd can hear them. There is a story about the Beatles playing their famous Shea Stadium concert when the screaming of the girls was so loud that at some points John and Paul just mouthed the words of certain songs, not even bothering to try to sing. Playing a very loud room is almost always a no-win situation and quality of sound doesn’t even enter the picture.

I guess all I’m saying in this rant is that while there are times when the situation is out of the control of the performer, many times there is an alternative to excessive volume coupled with awful sound characteristics. If you are considering buying an acoustic/electric guitar and an amp or PA, take your time, play and/or listen to as many set-ups as possible before making a decision. Or if you have a friend who is an experienced player or performer, ask their advice. And by all means, have a clear idea of what you DON’T want, sound-wise! There is no need to settle for inferior sound quality via electronics even if your budget is modest.

Peace & good music,

Gene

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Putting a band together, Part 3

Putting together a band, Part 2

Putting together a band, Part 1

Aaaaah! Stop hurting my ears!!!!

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