The Music Exchange

We’re still on the solo instrument trail this month. I said that I’d give some specific tips for different instruments, so that’s what I’ll do.

Apologies before I begin that you may find this extremely patronising, especially when I get to your instrument. Sorry.

Violin. Great for band work. Always keep an octave up unless you’re playing the tune in the intro or outro. Two octaves up works well too, though it gets a bit wearing on the ears if you’re up there for too long. Try long sustained notes on the fifth of the scale in some of the quieter verses — you can stay up there for at least four bars.
Viola. It’s much harder to make the viola audible while the congregation is singing, even up an octave. But it can do the same job as a cello producing lyrical riffs during rests and links.

Cello. I’m a big fan of the cello for accompanying congregational singing. It’s got enough body to cut through at any pitch, provided it’s miked well. The cello would be perfect for adding solo accompaniments for choirs too. Don’t go too far with all that rolling around and closing your eyes though. You may be in the zone, but it makes us all feel a bit seasick.

Flute. Can be used in the same way as a violin. Again, stay off the tune and don’t play all the time. No, really, your flute hasn’t got feelings, so it won’t get upset if you put it down every now and then. I’d also repeat to flautists the plea that I made to cellists about avoiding congregational seasickness (but I’d say it much more sensitively to a flautist!).

Oboe. Please, please, please only play if you can make a really good sound! Apologies for being so frank. The best way to find out if you’re up to the mark is to look at the faces of the people directly in front of you. If they’re singing with happy faces you’re doing a great job. If their eyes are bulging and they’re rubbing their teeth with sandpaper, look for a slot on the coffee rota.

Clarinet. I have been accused (maybe justifiably) of being a clarinetophobe. Clarinets aren’t that bad. There, I’ve said it. How’s that for a ringing endorsement?

Saxophone. There’ll be lots of different views on the job a sax can do. Some like the Iona style, others plain classical, and some, yes, Kenny G. I get the feeling that the sax has generally fallen out of favour at the moment (judging by their absence in the latest Christian CDs), but don’t worry, it’ll be back, just like flares and platforms.
Bassoon. Like the oboe, if the bassoon is played well it can be a really effective addition. With such a distinctive sound it can provide beautiful intros and fills in the same way as a cello. Bassoonists are one of the few musicians who you don’t have to convince to have a rest every now and then — they’re usually pretty keen not to pass out.

Trumpet. Trumpets are great when they’re used in the right way. Playing the tune can swamp the natural sound of the congregation. The trumpet works best when it adds short riffs in intros, rests and links. It’s wonderful for some of the more high-powered praise hymns (and, of course, Christmas carol descants).

Trombone. Undervalued in my opinion. The trombone produces one of my favourite sounds. I’d group it with the cello and bassoon as far as the colour it can add to a song. Where are the Christian trombonists? I was going to say something about the way in which brass players are traditionally trained to use rests in music, but I don’t want to be misunderstood!

Lead guitar. I take my hat off to electric guitarists. I’d love to know how they do it — all those pedals that make horrendous sounds on their own, but which actually sound good mixed in with the rest of the band. I always admire their confidence to be able to pull it off, and I learn much more from them than they could ever learn from me (at least when I can understand their guitar lingo).

To conclude, a few more general tips.

* I’ve mentioned riffs every now and then. The best way to improvise a riff is to take either a bit of the tune or a rhythmic feature that characterises the song, and repeat that melodic/rhythmic ‘cell’ a couple of times. This is the sort of thing that can be worked out at home before rehearsals.

* I have an instrumentalist friend who hates being referred to as a ‘melody’ instrument. ‘Solo’ instrument, I gather, is the preferred phrase, but you can try anything that may appeal to sensitivities — I’ve used ‘lead axe’, ‘noodle man’ and ‘honk/twang-meister’ to varying degrees of success.

* Finally, I’ve missed loads of instruments out. It was always going to happen. I’ve gone for the instruments that I’ve used in bands over the years. Sorry to you harpists, euphonium players and xylophonists — you’re still loved and valued, even if you don’t feel it!

The lonesome piper?

To conclude, a few more general tips.

Richard Simpkin

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