Following the Singer: A Guide to Dealing with Rhythmically Challenged Vocalists
Q: What do you recommend when you’re tasked with accompanying a seriously rhythm-challenged vocalist?
I was both music director and bassist for a recent musical review, with our band backing up a variety of vocalists. Two talented singers passed the audition with their carefully prepared selections, but with new show music, we discovered some serious rhythm challenges.
Personnel changes were not an option, and it became obvious we had to follow the singers, no matter what. During and in between our compressed rehearsals, our vocal coach was working his end while the drummer and I developed a mind meld on when to lag or push to match the singer.
The rest of the band (four others plus backup vocals) synched up quickly most of the time. We received kudos after the performances and I’d like know how to make this even less apparent to the audience.
A: This can be a tough one, as you’ve found out. The reality is that in the end, it’s our job to make the singer sound good and provide a solid foundation underneath of what is happening up top (the vocals, being the focus of everyone’s attention and the shiny wrapper on the package that you are responsible for producing). Sounds like you’re already there.
I’m never shy about making suggestions to people in the band because, in the end, it should be a group effort and everyone’s efforts should be towards the same end; to make the tune sound as good as possible. I always start with politely stating what I’m hearing and feeling with the music and suggesting that we try it “this way, just to hear how it sounds” or suggesting that someone sit somewhere specific within the context of what the rhythm section is doing.
If the singer (or musician of any kind) just can’t control themselves within the context of the band, and you can’t replace them, you are left with little control. All you really can do at that point is try to grab their hand and lead them one way or another and, if they’re oblivious to your time, you just have to follow them.
The only alternative is to stand your ground and let them go ahead and wind up a half (or full) beat off from the group, which can be dangerous. It’ll definitely sound wrong and can lead to a train wreck.
It’s really a judgement call that only you guys can make, but I would suggest talking over the game plan with the rest of the band so everyone else is on the same page. Sometimes a ballad which ends at a mid-tempo is better than holding your ground to make a point and ruining the entire song or performance. Either way, it’s going to hurt a little for one reason or another.
Readers, what is your approach to this issue? Tell us about it in the comments.
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Well, you could record the band playing the song, without the singer, and give the singer the recording so they can practice with a correct copy of the song the way you play it. If they mess up while singing with a recording, on their own, no harm done… more than that… a lot of good done.
I suggest a new vocalist.
It was specifically noted that replacing the vocalist was not an option.
This can easily turn into “that singer is great, but that band can’t play for sh*t”. On the other hand, it can be a thing of beauty when the band “breathes” with the vocalist. I have learned over the years that listening to the vocalist and judging the tempo by their comfort level (breathing and phrasing) is key to a good tempo and hopefully good performance. (This even applies to instrumentals that have lyrics). Keep your ears open and keep your head in the game, and keep the stress level to a minimum. Breathe!
Great point (which I now wish I had touched on!). Absolutely. Even without a singer, music should be organic and, sometimes, one section or another may very well want to be at a slightly different tempo. When the band is good, I prefer recording without a click because of this. It gives us the space to interpret and feel. I only like a click when it’s necessary.
In the end, music should absolutely breathe.
I think it all goes down to how strong is the band as a unit, if the instruments have good chemistry, then they can adapt to the changes the singer makes during the song, it takes one look or gesture to adapt the tempo or change something in order to follow whatever the singer is doing.
but beyond that, I believe it is good to educate the singers in terms of making them belong to the unit the band is. their voice is their instrument and must be treated like that. So instead of the band dealing with the singer having problems with the tempo, you all work that as a band, including the singer, and try helping him/her between everybody.
it’s our job to make the singer sound good and provide a solid foundation underneath of what is happening up top (the vocals, being the focus of everyone’s attention and the shiny wrapper on the package that you are responsible for producing). Sounds like you’re already there………
All great suggestions. I was the vocal coach in the above mentioned question. With 35 years experience, this was the most challenging rhythmic situation I had encountered. We did all that you suggested and more. I want to share that the final outcome was the band performed above and beyond all expectations and stayed with the singers wherever they went. A challenge for a solo accompanist, but for a band to be so “melded,” it was truly an awesome event to witness.