How To Make Music Groups Sound Good

How do you make amateur musicians sound good? I really don’t think I know. But I consistently get feedback about how good my groups sound, so I’ll concede that maybe there’s something I’m doing that’s working and try to detail that here. My personal disclaimer is that I never ever say “I know what I’m doing”…..but as luck would have it things usually work well when I’m involved in it. So I’ll humbly use that as a starting point. This was an email I received today from one of the directors of the current show I am working on. I consider them VERY picky and sparing with their compliments, so this note means a lot to me:

“And I think it is so amazing to note that when you look into the pit you see mostly kids! What a great opportunity for them. And what a testament of your skill to pull them together in the terrific way you have. Thank you from the bottom of my heart–you are doing a spectacular job!!!”

So how do you make mediocre groups sound good? Again, I don’t know…..but here’s what I do:

FIGHT FOR YOUR MUSICIANS
You need to fight for your musicians. If it’s a paid gig, you should negotiate as much money as possible for them. If you’re the conductor or group leader you are the only representative they have. They need to know you are looking out for them. I personally don’t make a big deal about this, but it is noticeable here and there and the musicians pick up on it over time. Mentally the musicians need to know you are on their side. Another reason I fight for the best money I can for my paid musicians is that I expect a lot from them and consider myself pretty demanding, so it’s only fair they be compensated for the bar I expect them to hit.

STRONG RHYTHM SECTION
Years of working in club bands taught me you can never be better than your rhythm section. If you are doing musical theatre chances are you have a rhythm section, and they HAVE to be fantastic. There is no way around it. Especially the drums have to already be in the pocket, and I need to have a repoire with them where they can change grooves to a subtle change of how I snap my fingers or hum a melody line. The latest show I waited til the very last minute for my rhythm section because no one that auditioned was giving me what I needed. I feel VERY lucky every time I score a strong rhythm section. And I kiss their butts too, they are the lifeline of the whole group. And a good drummer will usually save me from a sloppy cue. I keep my drummers dead center so we have eye contact at all times. And I train with them so they see my signals for slowing or speeding the beat around. Absolutely essential.

PAIRING PLAYERS
If you have an inexperienced player, try your best to pair them with an experienced player. The lesser player will usually rise to the bar of the better player. In one show I worked on, a particular player was not giving me the sound I needed so I actually paid out of pocket to get a pro player to play with them for some shows. Sure enough, the less experienced player started to sound more like the seasoned player within a couple shows. They just needed to HEAR what a good player does so they have something to emulate. I remember very well being in high school band and often times not having a good “bar” to listen to. Everyone wants to do well, they just need to know what “well” sounds like. When the pro player left, the unseasoned player now sounds more like the pro. I’m happy, the pro was happy to help and the student player now has experienced the thrill of success.

CUT WHAT DOESN’T WORK
I tell players that I don’t have to hear everything, I just don’t want to hear anything bad. I lean hard on players to learn their parts, but when it gets close to showtime I am quick to cut specific instrument parts that don’t sound good. I’m sure many people would disagree with this approach, but it’s not the players fault they can’t play it, it’s my fault for hiring them.

CUT PLAYERS EARLY IF NEEDED AND APPLY PRESSURE
I apply pressure early on in practices that parts need to be at a certain caliber, and that players who don’t reach that will be cut. I’ve since learned more diplomatic ways of wording this, but players need to know the pressure is on. My experience has been that most players don’t really study their parts “hardcore” before the first practice. In my mind, I expect all parts should be in place by the third practice. In the second practice I let players know they will be cut if it’s not in place by the third practice. And this is important: I follow through on that. This applies more to paid gigs. If I’m going to fight for player pay on their behalf, then I need to get what I need in return: exceptional sound. I usually expect a 10% drop in the first weeks of rehearsal, in my mind this is an insurance policy against things going wrong at shows. For those that make it through “boot camp”, once the shows start and things sound great, they will see it different over time that you leaned on them hard. They will appreciate the good sound that all are enjoying…..at least…..that’s the idea.

LOOK FOR NEEDS NOT BEING MET
You may have niche information or ways to help your players that they would never think of. You may have contacts, techniques or something they need to perform better. Keep an eye out for this. Playing music is about human connections and it’s important to help your players as much as you can….may even be out of the arena of music.

LEARN ABOUT YOUR PLAYERS INSTRUMENTS
Ask your players questions about instruments you don’t understand. Knowing more about the instrument, or at least knowing how THEY see the instrument can be of great help in the future. There may be a technical element you are unaware of that will help you in directing that player.

KNOW PLAYER LIMITS
You hired the players, now you need to work within that decision (if a player hasn’t been cut). There are times when I just know that I’m getting absolutely all I can out of a player. All I’m going to get beyond that is arguments and bad feelings. Know when to let go. Ironically, many players where I “let go” because I know it’s not in them, they think they are doing better because I’m not harping on them anymore. That’s fine to let them think that. Make a note for the next show and move on. No one wants to play poorly, but everyone is at their own experience level.

BENEVOLENT DICTATOR VS. THE SINGLE DEMIGOD
Be very aware that as director you are not the Demigod of the group. You are simply the conduit to interpreting the music. It’s not what “you” as the director wants, it’s what “we” as the group wants. Try to keep things in a team reference. You want the group to sound good, the group wants to sound good – that’s not the problem. The problem is GETTING there, and somehow you were chosen to do that. So get there as best you can, and view it as a team effort along the way. This is an area I always have to work on, as my natural tendency is to be very short and abrupt.

NOT WORKING? OPEN A DIFFERENT DOOR
One definition of insanity is doing the same action over and over but expecting different results each time. If something isn’t working, change it. At least you know what you’re doing isn’t working, so doing ANYTHING different is at least a better chance of success. If it’s your tenth time explaining the same thing to a player, then word it a different way. Use a different metaphor, different imagery. Again, something I’m still working on.

IF IT’S GOOD – GIVE IT TO THE PLAYERS
My personal credo is that if it sounds bad, it’s my fault. If it sounds good, it’s because the players took it there. You cannot sound good without the players getting it their. They don’t have to like you, but they have to want to do their best for you. If the group sounds excellent, give up the attention to the players, they deserve it. So those are just my thoughts right now. Maybe I’ll think it all opposite a year from now. Hope this helps someone.

Conrad