For the last week, I have been working on the closing sequence of music for our upcoming Christmas program at Cedar Springs Presbyterian Church. The music for the program is celtic in style and is borrowed at least in part from my father’s 2003 album, “Irish Christmas.”
When working day in and day out on arrangements, taking ideas and bringing them from the mind into notation, playing the audio on the computer and on the piano over and over and over again, it is so tempting to push towards the end and finish the piece! However, I have learned two valuable lessons as an arranger:
Sometimes it’s best to walk away, rather than force a creative issue. I am not saying that creativity should only flow from us, and that it doesn’t require work. However, we sometimes get stuck in a bubble and need to regain the perspective of the bigger picture. That means we give ourselves permission to say, “that’s one idea, and it might be fine, but I reserve the right to not commit to it at this point.”
I have been living and breathing this music, but nobody else can hear that mental soundtrack. Getting the notes written on the page isn’t the end of the work. That’s like framing a house, wiring some lights and slapping some plumbing together and saying, “done!” It is now time to think through each part, considering the idiosyncrasies of each instrument, and communicate the details necessary to bring the soundtrack to life.
You might skip this next list if you are not an arranger – here are my steps to finishing the parts using Sibelius 7, and I do them in order to prevent having to fix things that I already fixed:
Set the title, copyright info, composer info, and other global text items.
Assign the rehearsal marks that would be the most helpful in rehearsal.
Assign dynamics, slurs, and articulations for woodwind instruments. It is usually best to not use the “simile” indication – besides, it is trivially easy in software to assign articulations to large swaths of music. Use the Keypad to assign articulations, not the Symbols chart. Trust me.
Now assign dynamics, slurs, and articulations for the brass and percussion parts.
Now assign dynamics, slurs/bowing, and articulations for the strings. Match the depth of bowing information to the abilities of your players and the time you have for rehearsal. Generally, the more advanced the players, the less bowing info they will need. However, the more limited rehearsal time you have, the more bowing information is helpful. This assumes that you know what you are doing when it comes to bowing. If you don’t, it’s time to learn or find a string-playing friend.
Would the parts benefit from a few well-placed cues? If so, go ahead and put those in now in the full score. (Home Ribbon: Paste as Cue)
Go to the Parts ribbon and set the default Part Appearance page margins for All Parts – I typically need to give the bottom margin more space on the first page to accommodate the copyright text.
Now open up each individual part and clean it up: Adjust the positions of the staves to minimize problematic page-turns and minimize the number of pages needed if possible. Watch for collisions and awkward spacings. If the stave spacing is jumping around in a part in a way that you don’t like, go to House Style: Staves: Justify when at least 100%. That will basically turn off the automatic spacing.
Now go back to your full score and make it look the way you want. Feel free to “Hide empty staves” when you need extra room on the page. Think about page turns, upcoming instrument additions, etc, as you work through the layout of your full score. It is going to be your only tool in rehearsal, so you better think through the rehearsal process itself and what you are going to want to see at each moment in the music.
Good, articulate communication conveys information in an efficient manner. Mark Twain was quoted as writing, “I didn’t have time to write a short letter, so I wrote a long one instead.” When we musicians who are working as messengers of the Gospel give time and attention to detail, we are doing several key things: We are working hard to be faithful stewards of our own musical gifts, we are being respectful and considerate of the time and the talents of the musicians we are working with, and we are communicating the creativity, power, and joy of excellence when used for worship of God. It’s so much more than accents, slurs, up and down bows – it is our refined craft, and the knowledge that it is an offering of our heart to God, who deserves and demands our very best.
One of the cool recent discoveries that I have made with Airtable is that you can publish and share selected information easily through sharing a view and embedding it or linking it on other sites. What this means for me is that finally I have an easy way to create a list of upcoming choir anthems with recording samples, YouTube links, and publisher links and share that with my choir members so that they can review the music during the week or see what anthems are coming up next. Very cool!
I am also using the ability to password protect pages on our church website in order to share a basic choir directory (with information from Airtable) with just our choir members. And with AirTable’s recent gallery view, this could become a very easy way for folks to learn names and faces when they are new.
The ongoing weakness with Airtable is its printing – still very basic and honestly, only barely useful. Maybe this will be fixed in the future… but for now I am still having to rely on CSV exports to be able to do fancy printing when needed. Thankfully, that’s not very often.
When I write and arrange using software, one of the advantages (and indeed, a constraint sometimes) is that the computer is able to play back via midi/plugins the music I have written. Just like in a rehearsal, though, I like to be able to isolate parts to identify problems or voicing issues. Here’s how I do that in Sibelius.
Thanks for watching, and I hope you found this helpful.
I use Sibelius for music notation, and love the program. One common task and facet of good stewardship is how the music is presented to your musicians. Clarity of intent with logical page layout will save time and money, promote a more professional atmosphere amongst your worship team, and prevent dumb mistakes from happening due to awkward page turns and ill-placed key changes.
Here’s a quick 10-minute session on ways to handle page layout in Sibelius.
Collaboration tools are pretty good – we use it mostly to communicate changes and updates to our choir section leaders. The fact that Airtable puts a timestamp on record changes is really helpful.
It is fast. Syncing is instant, and works great on mobile or desktop.
The ability to create a web form is handy and really useful – and different from what you would do with a Google form. Google forms are great for collecting info, but Airtable forms are good for getting data into your own….
CUSTOM APP! Seriously, it’s like building your own app. Linked tables are the secret sauce to making it work.
Our choir had an awesome opportunity to sing with Michael W. Smith here in Knoxville for an event that Olympic ice skater Scott Hamilton organized. I put the signup form out via Airtable and had a custom app for the event where I could assign the singers their seating row and handle the number of passes and tickets needed.
I made this as a separate project in Airtable, but I should have made it as a table within my choir roster – and then folks could have simply checked their name off the list and I would already have their contact info at hand. Slick!
True database power
The most incredible use of Airtable is how we are now using it as the data backend for the Knoxville Area Handbell Festival. It now serves as registrar, checkbook ledger, financial reporter, music archivist, contact database, and legal document organizer. For the first time ever, I will be able to handle the duties of treasurer without having to lug around my computer and my black zippered binder stuffed with documents.
Using Airtable requires a bit of database understanding to really get going, but nowhere near as much as any other program I have ever messed with. Access? Forget it. Filemaker? Whatever. Fusion Tables? Still kind of intimidating. Airtable? YES.
Hey Airtable – think you could raise the limit on the number of rows allowed in your free version? Or maybe come up with a slightly lower price for the first tier of paid service? I don’t really know how much it would cost because of the whole “per user” charge thing. Just my 2 cents…
While attending a Sovereign Grace Worship God conference in 2015 (Triune) I had the opportunity to attend a session on keyboarding that opened up a whole new world for me: MIDI controllers paired with software, specifically, Apple’s $30 MainStage program. Jonny Barahona (@JonBarahona) was the speaker in this session, and did a fantastic job blending teaching some of the basics of the program with real scenarios on how to leverage it in a worship setting.
I got home from the conference, dowloaded the program and hooked it up to my controller and got started very quickly. It’s very simple to setup and get started. However, it’s NOT that simple to get to the more advanced capabilities, so I have turned to the internet to find instruction. Here are some of the sites that have been genuinely helpful:
First off, visit Brian Li at www.BrianLi.com – he has assembled a great guide. Brian’s work is in Broadway and electronic music production, so he speaks to a great variety of styles and use cases. He also breaks down using MainStage into topic areas and explains the hierarchy of assigning and mapping controls.
The second source I recommend is actually a paid service, Lynda.com – which is excellent for many different topics. If you are already a subscriber to Lynda, then you’re all set. If not, there are two free videos that are helpful. I have linked to their YouTube videos below.
The first one involves mapping controls:
The second demonstrates playback plugins:
Enjoy these sources, and feel free to chime in with additional items that have been helpful.