How Songs are Built

Why do I need to know how a song is built? Why do you care?


Because knowing how songs are built enables you to:


~ Learn it without “playing it on repeat 18 times”
~ Rehearse it as a band without just “playing the whole thing 8 times”
~ Know what you can change in it so it’s still fresh and worshipful after singing it 28 times
~ Encourage the congregation to sing more (without asking for it)
~ Adapt it to your band…(especially if your electric guitar player still thinks solid state is king)
~ Heroically decide not to play it when you realize (before Sunday morning) that your rhythm section (that carries that particular song) just doesn’t have what it takes to pull it off (yet)

So first, what are the elements that make up a song? Melody, Text, Form, and Accompaniment (which is harmony, rhythm, tone, tempo, and dynamics). There are things in a song that you can rework and there are things that if changed, make it a completely different song. Text, Form, and Accompaniment can all be modified to different degrees. Melody is the DNA of a song - change that, and it's no longer the same song.


We’ll start with what is most flexible, Accompaniment:
You may be able to change the chords and still sing the melody as written, but you may need to change what harmony you can sing with it. You can change the rhythmic feel of the song, and it may still work – like laying a rock feel, or a jazz swing, or a pop groove on it. You can play the song with only an acoustic guitar or a full band, but you'll need to play it differently to achieve similar energy, feel, or even style. You might use instruments the original author never dreamed of using. You can play the song slightly faster or slightly slower (about ±10 BPM unless you're doing a drastically different groove). You can change the key (thankfully). You can play different voicings on the instruments, use capos, and chord inversions. It may work to add or subtract harmonies. You can play a really quiet version or a REALLY LOUD version (sorry for the shouting). Ask “Would this song make sense if sung a cappella?” or “Would this song work without a drummer or a strong lead guitar player?” Then change at will…the sky is the limit. In fact, next rehearsal, try playing the same song once with only the players on the left of the stage, and then once with the ones on the right (and yes, the drummer has to pick one or the other). How did it work? What didn’t work? What did you learn?


Form:
A song may be written V1, Ch, V2, Bridge, but you can totally start on the Bridge if you'd like. You don’t need to sing both verses. You can sing just the chorus of a song. I’ll often repeat whichever verse I’m feeling like God wants to highlight in that moment. I recently led Here I Am To Worship and repeated the second verse twice (without going to the chorus) and went right into the bridge because it seemed right to be singing about God coming to earth “Humbly You came to the earth You created, All for love's sake became poor” …and then go right into “I'll never know how much it cost…” So it’s Outback Steakhouse here…no rules, just right.


Text:
Sometimes, you can slightly alter the text and still keep the song as it is - personalizing a pronoun for instance. You might change a chorus on the third time around from "God is great" to "God You're great" or change “He” to “You.” But if you change it up too much "O praise Him, He is holy" sung as "I praise You, You are holy" doesn't really work. But be careful here, purists may harpoon you after the service (in love, of course). Some of us feel like changing the “sloppy wet kiss” in How He Loves to…any of the dozen substitutes for the original lyric ruins the song. Some of us can’t stand the original. So alter with taste and tact…and good reason.


Melody:
But melody? Nope. Don't change that. Every note and every rhythm is foundational to that song. It's the only thing that separates it from every other song. Think of it as its DNA or fingerprint. If you don't sing it true to the original, your singers will have a hard time following you and the congregation will certainly have trouble following you and singing along. (this may very likely be on of the main reasons they don't sing if they aren't!)


Now I know, I know...you’re artists just expressing yourselves. Good for you. You are, but you’re servants first. Just like you should “Worship first; Play second” you must be a “Servant first; Artist second.” There are lots of ways to be creative and artistic, but altering the melody is not one of them. (unless you’re teaching it as a new song)


I’d love to hear your thoughts!


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http://adlibmusic.com/

Never Copy the CD Version

I love what Todd Henry says in his “The Accidental Creative” podcast: “It is the age of creativity. Cover bands don’t change the world. Don’t be a cover band, you need to find your unique voice.” There is no need whatsoever for making the songs that we do sound just like a recording.


However, there are two really important assumptions that statement makes:


1. One of the main roles of the band is to support the leader in where he/she feels God is wanting to take things for that service. Sometimes the leader will feel the most comfortable (and therefore be able to focus on what is most important) if the arrangement is familiar. I think it's fine for the leader to ask for a certain arrangement, which may be what Chris Tomlin's band did. So if the leader is asking for it, the team should do it.


2. And, more importantly, the statement assumes a certain level of musicianship in the players. Manheim BIC’s Worship Pastor, Ryan Shenk, described a church service as a “family dinner” because it speaks of uniqueness and intimacy, so every church has their own flavor. But, scrambled eggs…again?! Can we try poached or over medium? Mom…!


See, most church musicians are in ruts because they haven't invested enough in their own musical development to have solid musical foundations, good chops, proper technique, and the ability to make musical choices in WHAT they play. I'm not saying your band isn't good, doesn't have talent or potential, or isn't valuable! Seriously, I'm not. The value in learning music the way it is on the CD is that it is like taking lessons from seasoned, accomplished musicians and learning from professional arrangers. I'm ready to say “never listen to a CD again” once a band has such great instincts (read: habits) that they produce fantastic music naturally without it. So until a band (or a musician) gets to that point, they need lessons or to learn parts from CD's. It's a necessary step in being a good steward of your musicianship.

And while I’m on stewardship, I need to tell you that I just love the definition of stewardship: managing for increase. I used to think that stewarding something just meant managing it. But that's more like burying the talent out of fear. Managing without the “increase” part just leaves you with trying to protect, control, and maintain. (ew!) We're not called to that, we're called to double and triple the return on the talent God has given us. Musically, that requires investment.


It takes time to develop the leadership art of creating a culture of grace that, at the same time, pushes the development of people, and calls them out when they don’t feel prepared. And it's important enough to say that your musicianship and your stewardship of it is NOT tied to your identity or your worth, that you don't have to perform your way into acceptance or approval (which is such a common pitfall for musicians). You are accepted completely because you're a son or a daughter of a Father Who loves you with inalterable love. Now you have the responsibility as a son or daughter to steward the gift well.


So, what are you going to do?


http://adlibmusic.com/