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Anyone have experience with these? Any tips or tricks? I am kind of nervous about being so "exposed" all night, along with playing unaccompanied solos.....
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08-16-2019 09:29 AM
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It's more important to be solid behind the singer than interesting. You don't need to pull out your hippest voicings, keep the rhythm and harmony 100% correct and let the singer shine. For solos I mostly keep to chordal stuff since unaccompanied single note stuff feels like the rug got pulled out from under the music. I think of those chordal solos as sort of shout chorus type lines from a big band - you don't need complicated or fast melodic content on top. Just clearly thought out and executed riffy ideas that keep the form and momentum going.
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That's SUCH good advice Drbhrb ! brilliant !
(you need to work on your name tho)
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Drbhrb's advice is definitely very sound. I play duo with a vocalist a fair bit and I do like to throw in a fair bit of single line work but I do comp for myself in between lines.
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Listen to dr's advice--it's good. However, unless you're a very advanced player, I would forget about the solos completely and focus on a few, select, tasty licks(if any) before, during and after chord changes as she's singing. I did a gig in ancient times( mid70's) with a teen-aged Latin female vocalist who was well beyond her years musically in style, sophistication and a personal sound. I was very conservative in my playing and played simple chords with much more breathing room than I do today. It was a terrific success since she carried the show with her terrific sound. So,it's really not your show . . . it's hers and the bottom line, in my opinion, will be very musical if you keep that in mind. Good luck on the gig and good playing . . . Marinero
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Originally Posted by Paulie2
I have been doing these types of gigs for years.
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Originally Posted by drbhrb
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Yes,but be careful not to actually PLAY the melody.
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Originally Posted by Marinero
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Originally Posted by Hep To The Jive
That would be certainly true to a hardcore Jazz audience who came to listen to the music. But, to the average crowd, there's no need to make each song into a music masterpiece. For example, people that do lounge gigs, hotels, weddings as "background music," while people are eating or drinking as the main event, short and simple always wins the day. In most cases they are not listening. A few years ago, I did a very prestigious Classical gig at a renowned country club for a wine festival. Tuxedo pants, shirt, etc. The PA system was first-class at the event. There were easily 300 plus people in one large banquet room and growing. I began the first set on low volume and ended the set on high. By the beginning of the second set, you could not hear the music above the crowd's chattering roar. And, the din of the crowd overpowered everything in the room. As a joke to myself, I turned off the mic and kept playing. People would walk by and smile. Some would say they enjoyed the music. I couldn't hear myself playing. Socrates said "Know Thyself." A good musician says, "Know Thy Crowd." Thanks for the reply . . . and, good playing . . . Marinero
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I agree, the first rule is that it is not your show so play accordingly and support the singer Some thoughts from my own experience:
1. Take advantage of freer, rubato playing for intros (you can shine there) but be sure to lay down clear time in the bar before the singer comes in. You may feel the time well before that but with some singers you need to be blazingly obvious. Same holds for harmonic interpretation. Use intros to go places surprising but be sure to bring back to more vanilla sounds a bar or two before the singer is to come in. Too many times I felt I set up a singer with an interesting intro but to see them miss the cue and I have to cycle back again to set it up in vanilla terms (I, VI, II, V). Sigh.
2. Work on your two feel and "four on the floor" Freddie Green approaches and oscillate them as a band would (e.g. 2 feel in the A sections and four on the floor in the bridge). If you play an archtop roll that volume down to get that nice airy rhythm sound.
3. There are many tunes with opening verses that are pleasing and novel (Autumn Leaves is an example). Incorporate them if you can and you will stand out from other duos.
4. Soloing without a looper leaves you pretty naked on the bandstand but it is helpful to the audience and yourself if you don't completely abandon reference to melody and root movement. If you stray to far the audience may be lost and feel they are lstening to a guitarist play random stuff up there. As players we hear a lot of harmonic movement in our heads that others don't so keep melody in mind. Also, it is helpful for singers because they want to know when to come back in and if you are too abstract they will miss cues.
5. For soloing, chord solos are your friend but you don't need to be too dense with the chordal stuff.
6. Two note line improvisation (faux contrapuntal) like Jimmy Wyble are a workable alternative to the nakedness that comes with playing single note lines all by your lonesome....
7. Listen to Joe Pass playing solo guitar without a band. His playing as a treasure trove of ideas.
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Originally Posted by drbhrb
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Originally Posted by mr. beaumont
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The important thing to remember is the audience is focused on the singer,not the guitarist! Just keep the train moving and start simple until you feel comfortable enough to venture out.
Remember the audience no matter what you personally feel isn't aware of the missing players.
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I have been duo-ing with a singer for several years. If your musical partner is anything like mine, be prepared for this:
1) "I don't feel so good today - can you take it down a half step?" Or a whole step.
2) "I don't feel so good today - can you sing the next one?" Or the next three or four.
3) "I wanna set the tempo," she whispers. "Count it," I whisper. She counts it, and I play. One line in, she slows it way down, or speeds it way up.
With all that and a lotta other stuff, she sings great and audiences love her.
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Originally Posted by Thoughtfree
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I always remember one of my dearest mentors during my formative years. He played string bass with Charlie Barnett's big band on the road for years as well as a 30 year stint with the Chicago Lyric Opera and local gigging. When I asked him about a female vocalist I was booked to do a gig with as a duo who was a "p.i.t.a." he said: "the most successful female singers were dumb and beautiful . . . if they could sing it was a plus." Of course, he was being being humorous when considering Billie, Ella, Sarah, Nancy, Dinah, but the one's I have worked with in the past(not by choice) were always very temperamental and unduly arrogant. The best female vocalist I ever worked with was a teenage, Latin female vocalist I referred to in post #5 who was a natural as well as a sweet human being. It might just be the luck of the draw. Good playing . . . Marinero
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male vocalists are every bit as crazy and irresponsible as female, in my very long experience, especially at the lower levels. On the other hand, most high-level pros know what they want and need, and how to convey it, and are smart enough to know that dissing the accompanist can result in some unpleasant surprises during the gig. serious vocalists generally work with a consistent music director who learns their foibles and frees them to not have to think about anything except singing. the best accompanists are also those who listen and react best. for those here looking to become adept accompanists, try accompanying your own singing, even if you never plan to sing in public, it's a great start.
it's also valuable to consider this fact: a singer has no instrument to hide behind or blame for problems, and many are just plain scared to pieces; this often translates to arrogance or other negative behaviors. I have often found that positive reinforcement makes for a much smoother show, such as stating upon meeting that "I am looking forward to working with you" or "I've heard great things, can't wait to start".
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Originally Posted by Roberoo
i love backing up singers generally tho
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Tempo change insanity from my vocalist partner at a show last week. Every song, she would “conduct” me with her left hand, faster, then slower, then faster, then slower. OK, I give up - let’s play everything rubato for gosh sake...
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Originally Posted by Thoughtfree
Hi, T,
I might tolerate that behavior a couple times a night if it were done discreetly but if she acted like Wizzo the Wizard conducting the band on Bozo's Circus, I'd tell her to find another accompanist and good luck on her career. Hope you enjoy the clip. Good playing . . . Marinero
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Originally Posted by Paulie2
I remember being freaked out about this first time.
The secret is to not to try to do too much. Mostly chords and a couple of single note runs is fine. If you know it’s ok to keep it simple it’s easier to build things up.
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Originally Posted by christianm77
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Hey wow glad people appreciated my advice. I do a lot of these gigs and they've become my favorite gigs to play. I enjoy being in a supportive role and you also get to shape almost all of the feel, arrangement, etc. Very rewarding. It's also the easiest type of gig to sell to a restaurant or bar.
Elias Prinz -- young talent from Munich
Yesterday, 10:24 PM in The Players