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41

This is not always true. While most bar bands have this set up, if you go to many large concerts (for instance the Eagles concert tour), you will often find many percussionists working simultaneously. But on average, and for most typical bands, I'd say you're correct. And while I can't give a scientific reason, I can give my general opinions and at no ...


23

When you quit a band, you should treat it as any other professional job. This means let them know in advance, and follow through on any commitments where not following through would leave them in a serious bind. So if you quit a week or two before a show, be willing to do the one last show if they can’t find a quick replacement. If you’ve got a written ...


16

The best way I've found to get bandmates to fix things is to record a performance, without their knowledge, and give them a copy at the next rehearsal. They do have to listen to it, of course. It takes a lot of the feeling of being criticized out of the equation.


13

Is there a particular set of skills that you'd say is required before one considers joining a band? Not really. Look for other players at about your own skill level. If you are taking classes, perhaps your teacher can advise you of others looking to play together. If you are reasonably comfortable playing in front of others, you should do reasonably ...


13

Sounds to me like he's pushing his voice a lot harder to get over the band volume. In an acoustic situation, he's singing in a more relaxed way, but put all the instruments in, at a volume which is probably unnecessary anyway, and the sing becomes more of a shout. By turning up his mic a balance will partially be restored, (but his ears will still tell him ...


12

Small ensembles in the pop and folk idiom can all go by the term of band; this answer will focus on what are referred to as "large ensembles." In the jazz context, the name of orchestra was historically applied in order to give credence to groups that would otherwise have been marginalized by the cultural mainstream and racism. That term has now been ...


12

Band is a very imprecise term. Many swing bands contain stringed instruments (Double Bass obviously or Bass Guitar) and some have contained string sections. Pop bands can contain almost anything. Orchestras can contain almost anything as well, but pretty much but tend to be Strings Woodwinds Brass Percussion In symphonic situations. Philharmonics tend ...


10

In an orchestral situation, it is a terrible idea to rely on the conductor - they may not be able to cue you or instead are going to give a more important cue. Just because you are not playing does not mean you're allowed to sit and wait for a bus. Scores that have been edited well will have "cues" written in the parts, so, say you zone out accidentally or ...


10

So long as you give some notice, and don't quit half-an-hour before a gig, you're doing it right :-) . Personally I don't think it helps to vent your exact list of grievances and perceived shortcomings of the other members, if for no other reason than you might want to join a different group some day and you don't need a bad rep in the community for any ...


9

Your drummer should be capable of playing along to a rhythm set by another instrument rather than leading the tempo all the time. Can he drum along to a metronome? If the problem is that the keyboard isn't always sounding the beat (maybe you have a couple of bars without playing, or just holding a chord without rhythm?) then you need to add something for ...


9

You say they're willing to learn, but do they understand what that means? Does the band have a director (or other person who is "in charge"), or does everything happen by consensus? Have they agreed that on this subject you are in charge? How do you spend your rehearsal time? Do you spend any of it on "technique" or "meta" stuff, or do you just rehearse ...


9

A bunch of people have said a lot of right-on stuff. I want to hammer one point home. The moment you give notice? It is no longer your job to give constructive criticism. The constructive criticism stage is the "if you don't start fixing this stuff, I'm gonna have to get a new band" stage. Once you've decided that the fixin' ain't happening, and you're ...


8

In order to rehearse for maximum effect, we need to first identify the purpose of rehearsal and the objectives we seek to achieve. Here are the key things that group rehearsals should address: Collective practice up to a point where a piece can be performed as a group, Perfection of performance nuances, especially those that involve more than one ...


8

It's just a name: it used to be based on four bars, which probably would comprise one set of chord changes (eg doowop, I vi IV V), but could just as easily be two or eight bars. It's like calling a song's bridge a 'middle eight', even though the number of bars may be different. The Beatles always called their bridges 'middle eights'.


8

Craig, the other answers all address the possibility that his "singing nowhere near as good" is because he's getting drowned out by the other band members. There's another possiblity as well. If he sings very well by himself, accompanying himself, that doesn't necessarily translate into singing well with other people who are accompanying him. It's a ...


8

I can certainly explain why there aren't many rock bands with multiple drummers. Because every garage band practices in the drummer's garage. The drummer can't fit the drum set in the back of his mom's Celica, so everyone else else comes over to his house. Plus, even when the van is working, it's a pain to lug the set around. Much easier with guitars ...


8

The best advice I've seen for rejection was in the context of dating, but I think it applies equally well to the kind of social and professional rejection involved in leaving a band. The ABC’s of pulling off a pain-free rejection: Admiration. Sounds crazy, I know, but it is absolutely essential that you find something, anything to admire about the ...


7

I think you should concentrate on teaching you drummer first, because the drums is easiest to pick up the rhythm from. The bass is also important, but is sometimes hard to hear the beat precisely enough. The bass drum is the most important for keeping a steady beat. When that is in place, it will also be easier for the others to follow. If the guitar solo is ...


7

I agree with Tangurena's answer. I would add that if you aren't sure about your skills at the moment, find one or two people you can jam with that are better than you. I've found that playing with people better than me forces me you get better faster than just playing on my own.


7

Apart from the fact that one drummer can produce enough volume to compete with guitarists, even with a big rig,every sound he produces on the drums, and even on the hi-hat, is a short sound. With two drummers, each 'note' they play will have to be timed more accurately than, say, chords on a guitar.This should be easy to accomplish, but my experience says ...


6

Joining a band should not be a question of your abilities. Sure, those are important, but the most important factor is your passion for playing with other people. If this is something that drives you or makes you go insane at the very thought of it, then look for a band without delay. Or form yours. You only really get better when you have to perform.


6

I think in this context, "Piano Score" is a mistranslation. That would usually indicate an arrangement that has been condensed from an original instrumentation down to piano plus solo instrument or voice. Carl Witthoft's link contains the following image: The instrumentation is drums, guitars, and voice (and I would call this a "Band Score"). If the ...


6

I agree with Tim. A lot of bands tend to crank up their instruments way too loudly which is unfortunate. Everybody wants to be heard. Vocals are crucial for a vocal based band and the band should really work on mixing. Things you can do are make sure that the Vocalist can be heard clearly over all of the other instruments, especially the lead guitar and ...


6

In an orchestra, let the conductor do the work for you - they should let you know your moment is coming. In a smaller group, say a string quartet, you wouldn't expect such long rests (after all, you're 25% of the ensemble) - but learn what the other parts sound like and use that to time your return. So instead of "Now I count 64 bars", it's "I'll come back ...


6

Adding to Dom's answer, the key is often in listening for cues in other people. Find out what other parts are doing around the time you come back in and before, so you can listen for that sign that you're about to come back in.


6

In practice I've come across 4 solutions for using several different guitars (that need to go into one amp, I suppose): use a router switch (e.g. this one). In this case you use one cable per guitar. use a mute pedal (you could use a tuner pedal which mutes the output when switched on). Here you would use the same cable for all guitars. use a volume pedal ...


5

If there's a lot of electronics going on that the drummer needs to always be in time with, then a click track on an earpiece is really the only option. This is pretty standard for professionals to use with in-ear monitors. If the tempo doesn't vary immensely and the keyboard is only playing from time to time, then I don't think there's reason enough to ...


5

In swing setups such (e.g. tenor sax battles), it is not uncommon so see "trades" of varying (typically decreasing) length : trade 16, then trade 8, trade 4 and sometimes even trade 2 then trade 1, each time building up the tension. Things could also end in both musicians improvising simultaneously. Nice example from Robert Altman's Kansas City: ...


5

I can only think of two rock-oriented bands with two drummers: The Allman Brothers Band and the Grateful Dead. In both cases, as I understand it, there's one drummer (Bill Kreutzmann for the Dead, Butch Trucks for the ABB) who is primarily responsible for the timekeeping and another (Mickey Hart, Jaimoe) who focus more on providing flourishes and a greater ...



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