Sunday, October 30, 2011

Can You Over-rehearse?

Lots has been written about insufficient rehearsing. There are plenty of mus the topiicians who have performed a lot more than I have - but strangely I can find little information onc of over-rehearsal. So, here are a few things I've learned about myself and the problem of over-rehearsing, as a solo act:
  • Over-rehearsing can become an excuse for not rehearsing enough, as in "I don't want the emotion to be sucked out my performance." That's fertile ground for insufficient practice.
  • That last gig where everyone loved you and your self confidence went through the roof? Don't be lulled into a false sense of security and think you can rehearse less for the next gig.
  • Don't confuse over-rehearsing with proper preparation. Proper preparation means knowing your material cold so you can perform it with all its nuances - eyes closed. This is a huge challenge for musicians who must hold down a regular non-musical job while trying to find opportunities when time and energy for rehearsal, align.
  • Know what you're going to say to bridge from one tune to the next - but keep it short. This takes more preparation - and rehearsal - than you might think. Just as in songwriting, it's much easier to speak long than to focus on your message and speak short. Your audience came to hear your music, not a long winded explanation of how a particular song came to be, populated with plenty of "uhs" and "ums." If a song has a compelling story behind it, keep it compelling - and short. Otherwise, let the song do your story-telling work for you.
  • When you're rehearsing in your home, you likely have everything you need spread out around you: instruments, capos, picks, etc. But stages in live music venues are often small and crowded with mic stands, cables, and gear. Don't forget o rehearse instrument changes, inviting guest musicians to join you, etc. If it's a new-to-you venue, work out some "what-if" scenarios for you and your gear.
  • The only time I have felt over-rehearsed is when I have done a particular song so often that it's lost its appeal and passion in rehearsal and in performance. Give that song a rest for a while and come back to it when it feels fresh again. If it's a great song, it will feel fresh again.
  • Warming up off-stage just before your performance can be important but is not always necessary if you have your material down cold. I may or may not warm up before hand, depending on how comfortable I am with a particular venue/audience. Not practicing at all on the day of the gig can help keep me on my toes, keep my material fresh, and creates a sense of eagerness and anticipation that gets through to your audience.
So what do you think? Is there a point at which you can feel over-rehearsed?

Tuesday, April 19, 2011

Rhyming with Sammy Cahn

I've just read four-time Academy Award winner Sammy Cahn's book, The Songwriter's Rhyming Dictionary.

That may sound odd, until you know that the first quarter of this book is an introduction - actually a tutorial - on song writing from one of the greats. Sammy Cahn (1913 - 1993) wrote some of the most famous songs ever performed in Broadway musicals, in films, and by greats like Frank Sinatra, Dean Martin, and Doris Day. Can you say "royalties?" The short rhyming dictionary that follows the intro is true to his style of simplicity in language.

I've never considered myself a huge fan of musicals or any of the crooners from that era - but they did have a following that meant something to their audiences - big audiences. When it came to songwriting, Cahn knew what he was doing.

This slim 1983 tome, which is now in its ninth printing, has pure songwriting gold in its fifty or so introductory pages. Using concrete examples, explanations, and most importantly, his personal experience, Cahn lifts the lid off of a number of tried and true techniques that will never become outdated. He also demonstrates how and when exceptions to songwriting rules can really make a song memorable, articulates when, how, and why to break a rhyming pattern, and when and how to use made-up words.

Most interesting to me was the section entitled "The words must marry the music." The heart of a great song is in the emotional experience - how a song makes the listener feel. A lyric that makes intellectual sense and is clear about its message or story, but doesn't make the heart sing, just doesn't cut it for Cahn.

Cahn was a convicted, committed, hard working song writer. Example after example demonstrates how hard he and his co-writing partners would work to find just the right word or phrase. It's all packed into the first fifty introductory pages, but Cahn is so clear in his illustrations, that the book is worth the price even without the rhyming dictionary.

Sunday, March 20, 2011

A simple home recording set up

CAD M179
A number of people have asked me how I record at home, and what gear I use.

While the possibilities are endless, my budget was not. My home recording set up is not high end, but that's not what I set out to build. Rather, I wanted something quick and easy to set up, and something relatively portable so I could capture jams and spontaneous improvisational arrangements at the homes of friends. And I wanted to stay around $500 and focus on the components that matter most to sound quality (I already had a computer, so I didn't need to figure that into my budget).

When I was looking for advice, a friend of mine who designs mics over at Kel Audio recommended an M179 mic from CAD Audio. At the time, he was not yet manufacturing a mic tweaked for the acoustic style I play. Today, I'd likely order one of his - but not because the M179 isn't up to the job. The CAD M179 is an excellent mic.Though it may not be the last or only mic you will buy, it offers incredible recording quality at a great price point (under $200).

I connect my M179 to a MicPort Pro (also under $200). It's an XLR to USB preamp convertor/connector all in one tiny package. Since it's a USB device, it's more-or-less plug and play. I did have a problem with a loose mini-USB connector - but the company fixed the problem and returned it to me promptly at no cost, even though it was off its one year warranty. 

MicPort Pro - Mic Input
MicPort Pro - Output to USB
MicPort Pro with XLR Mic Cable
MicPort Pro with Mini USB Cable

Audacity Screen Capture
For software, I use the free, open source Audacity. I've found the recently released 1.3.12 Beta version to be more stable and reliable than the previous version - though the previous version worked pretty well. There are a lot of tutorials and training available online for Audacity. The online help is worth your time and will save you frustration. It's also important to make sure your hardware requirements are up to snuff if you expect Audacity (or any reasonably good sound recording software) to run smoothly.

CAD M179 with pop filter
A pop filter and a mic stand later, and I had everything I needed to begin capturing and tweaking my tunes.




Sunday, February 27, 2011

The hope-full-est, saddest song in the world?

In the fall of 2010, I wrote a song called "Killin' Frost" more as a cathartic exercise than anything else. The song was really meant as a response to yet another person close to me dealing with a critical illness.

Here in Canada where I live, the growing season is relatively short. Farmers and gardeners alike will mark the end of the growing season by when the first "killing frost" occurs. I used that term as a metaphor for the song, ending it with a hopeful outro that repeats at the end.

I was at first hesitant to play it live. Although it has a hopeful ending, it is kind of a downer song. I recognize that a lot of audiences prefer lighter, happier fare. But I did play it for a live audience at a coffee house; the positive response was generous - and surprising. I've played it for more people since, and the response has always been generous. Folks have emailed me asking for the lyrics, implored me to include it on a CD, and asked for an MP3.

I've come to understand that the song speaks to a shared sense of the human condition. Who doesn't know someone who has fought hard against a critical illness? It's a more common experience than I wish.

So I've added the song to my playlist. You can also hear it on the player at the top right of this page. Give it a listen. I'd love to know what others think.

I doubt it's the saddest song in the world - Google reveals 265,000 results for that search string. But that's okay. I'm not sure I want to be the writer of the saddest song in the world. But hope-full-est saddest song in the world - that'd be alright.

Sunday, February 6, 2011

Small Music is Big

"Small music is big!" declared presenter Paul McIntosh as he introduced Ridley Bent and his sidemen for the evening.
Ridley Bent - photo courtesy Marcel Desilets

The venue, a house concert at friends Shawn and Tony's, was filled to capacity with forty lovers and fans of intimate, live music. Just one week prior, I took in Sarah Harmer's Winnipeg concert in a venue with a 750 fan capacity. Harmer delivered a very fine concert. But for my money and from my perspective as a  singer-songwriter - I much prefer the more intimate house concert setting.

Why?

At Shawn and Tony's I was able to get a front row seat (and even if I hadn't - I still would have been close). I could hear Ridley's every word (and believe me - you want to, because this guy can pen a lyric!), and I watched every lick as guitarist Chris Dunn wowed the room on his fretboard; with his eyes mostly closed, he seems to have some sort of telepathic connection to those six strings. And I don't know how he wrangled it, but co-host Tony - an accomplished player himself -  played the upright bass on every song except for the one on which he played 5-string banjo (great job Tony!). The whole concert was rounded out by the super smooth pedal steel and dobro of Ken Campbell.

With only one practice under their belt in this configuration, the tight foursome needed to do little to win over the packed house. Of course - that's another thing I like about house concerts: the choir of fans is already sold on the venue and the artists. There are no tire kickers there; they're polite, attentive, and respectful. And I got to meet Ridley, Chris, and Ken in person and chat about their art.

Finally, house concerts offer gigs to artists who are enroute to larger centres, and provide small communities with a live music experience they might not get otherwise.

On the other hand, at Sarah Harmer's concert there was a steady stream of people walking past me throughout the whole show, and subsequently a steady interruption of my sight lines. And then one couple, for whatever reason, thought it would be a good idea to stand in the aisle for a time, completely blocking the sight lines of several people in my row. I get that the atmosphere is different and that fans go for different experiences; it's just not what I need to get out of a live music experience.

Small music IS big. If you want to host a house concert, there are some great sites that tell you everything you need to know. Singer-songwriter Bob Bossin has a particularly helpful (and entertaining) page. If you're hosting an entertainer, banjo artist Danny Barnes has an insightful rant on the dos and don'ts of hosting performers. And if you're looking for a house concert circuit, check out Home Routes.

And here are a few additional helpful links:
Are house concerts the next big thing? (Toronto Star)
Everything You Always Wanted to Know About House Concerts But Were Afraid to Ask
Come On-A My House...Concert (CBC Radio 2 Blog)

Wednesday, January 19, 2011

Two 'Must Hear' Albums for Singer-Songwriters in 2011

Woot woot! Two albums on my Xmas list for 2010 showed up under the tree this year. I'm sure there are a lot of 'must hear' albums from 2010 that singer-songwriters would especially enjoy, but for my sensibilities, these two would have to be in my top five.

    1. Red Horse (John Gorka, Eliza Gilkyson, Lucy Kaplansky), Red House Records: This album made my Xmas list sight unseen, sound unheard. My choice was based entirely on a promo from Red House Records.

    These three stellar artists teamed up to cover a couple of tunes (including the superbly arranged I am a Child by Neil Young), perform each others' songs, and collaborate on a traditional tune (Wayfaring Stranger).

    While the songwriting is outstanding, what strikes me most about this album are the lush solo and blended vocals, and the gorgeous arrangements. This album is produced in a way that truly allows the lyrics to stand on their own and do all the heavy lifting. The instrument and harmony vocal arrangements are all there for a single purpose - to support the songs at an emotional level.

    Dear readers, you must listen to this album. Best enjoyed with high quality ear buds or head phones.

    2. The Garden (Ruth Moody), Red House Records: Graceful, well thought-out discretion is the byline of Ruth Moody's first full length solo album. Moody, of Wailin' Jennys fame, expertly lays down her richly lyrical imagination and then complements it all with a variety of instruments, many of which she plays herself. This deceptively simple sounding album is the result of a seductively complex effort and subtle attention to detail. Every instrument and note serves a purpose - even an Omnichord shows up unexpectedly, but by no means frivolously.

    From a performance perspective, this could be a penultimate how-to album for vocalists working to refine their delivery; Moody's tuning, breathing, and phrasing is impeccable. Every syllable, vowel, and consonant is executed with perfect nuance. Like Red Horse, this album is best enjoyed in a quiet room with excellent earbuds or headphones. Heard in this way, it sounds like Moody is sitting right next to you. Simply incredible execution.

    Wednesday, January 5, 2011

    Gold Nuggets of Songwriting Wisdom

    On today's post you'll not hear form me. Instead, I'm posting some little nuggets of wisdom about songwriting that continue to inform the process for me - and are good to re-visit once in a while when I'm sliding off the song writing rails. Perhaps you will find some inspiration and encouragement from these quotes as well. Happy writing in 2011!


    "The more abstract the truth you wish to teach, the more you need to seduce the senses to it." - Friedrich Nietzsche

    "Songwriting is the art of blending the sounds, meaning, and rhythm of words to touch the hidden places within people." - Bill Pere

    “I don’t really develop songs. I’m usually just doing something useful, like changing the oil in my car or clearing the wax out of my ears, and the song just comes to me and I just stop what I’m doing and go write it down in a little book I have for such occasions.” - Simon Joyner

    "... the crafting process – distinctly different from the song generation/creation process. Creation is unconscious, spiritual, emotional, and very individual. The biggest trap that aspiring songwriters fall into is believing that when that burst of inspiration is spent, the song is "done". The successful, seasoned songwriter knows that the end of that wonderful, indescribable time of inspiration marks the beginning of the next phase in the life of a song, which is the crafting phase. This is the rational, analytical process where specific tools and techniques are applied to the raw output of the creative flow, to cut and polish the raw gem into a final product that touches people in a desired way." - Bill Pere

    "But there's a thin line between songwriting and arranging" - Warren Zevon

    "When you tune your guitar in a different way, it lends itself to a new way of looking at your songwriting. " - Sheryl Crow

    ""Songwriting is in the imagination, not always in the truth." - Vince Gill

    "If songwriting is in you, it will have to come out - even if you don't make a living at it." - Rachel Thibodeau

    "Try to leave people with a feeling of 'Yes, I was there, too.' - Pat Alger