We play in a group as a coordinated ensemble.
In a group, there must be complete equality of parts. Imagine that every musician, absolutely every one, is a soloist, creating a single mechanism. To achieve this, you need to listen very well and hear your colleagues and understand their current role.
There are two broad roles: solo and accompaniment. Each of these roles is further subdivided into several. So, understanding your role in an ensemble or group depends on knowing the entire, ENTIRE score of the piece.
This isn’t a whim of mine, but a sound and very concrete approach to studying and performing music.
When playing in a group, you simply must know all the parts of all the musicians. This is much easier than it might seem at first glance. It is enough to look at the score and follow the so-called melody line.
A melody line is a continuous melodic line that is transmitted from one instrument to another. This line, for example, can be started by one instrument, continued by another, developed by a third, and so on. This doesn’t mean the melody should jump from guitar to guitar.
You should perceive the melody line not only as a sound, but also as a noise. For example, when the bass enters, develops the melody and transfers it to the drums, and takes the place of the accompanist. Therefore, you need to pay attention to the melody’s buildup, decay, and other artistic or thematic changes.
Suppose the bass plays loudly, even very loudly. Then, after transferring to the drums, it continues playing loudly, disrupting the balance between the different planes. If you’re conveying the melody, strive to “hide” behind the foreground instrument and create a suitable background for it. There is no need to stand out where the work does not require it.
Not all instruments should sound the same at the same time. Create a pleasant and balanced musical picture, rather than awkward noise. When playing a piece or song as part of a group, always think about your place in the sound picture. Are you currently stepping into the lead, or should you skillfully “step back” and not interfere with the other instruments?
The same approach should be taken with another instrument, such as the voice. A soloist who strains throughout a song, wanting only to be heard, is completely unsuitable for performing in a group. Such a vocalist has not yet matured enough to collaborate and is better off singing vocalises alone or even a cappella. A completely different example is when a soloist is sensitive to their own part, is remarkably aware of their partners, and willingly helps bring their instrument to the forefront when needed.
All instruments – and therefore musicians – in a group must feel each other, be one whole. Each instrument should blend with the others, continuing the melodic line, and capturing the character of the piece. The entire musical group must understand that each individual musician is a fully equal participant.
I wish you, dear musicians, to always play in a group as in a properly structured professional ensemble!
