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Worship Team - Using Auxiliary Percussion
In the modern church band context, auxiliary percussion refers to
the percussion instruments that are not part of the usual drum set.
They would therefore include congas, cowbells, shakers, bar chimes,
bongos and all that. Some churches include auxiliary percussion in the
band even if they already have a drummer on the drum kit. Other
churches may, because of space, budget or noise constraints, choose to
use auxiliary percussion to replace the regular drum set.
In both
cases, auxiliary percussion can greatly add the people's worship
experience if used correctly. They can also be an irritating
distraction if not used correctly.
Before you can understand the
correct use of the auxiliary percussion instruments, you need to
recognize that there are two main instrument groups. They are:
1)
the groove instruments - instruments that are used to create a
consistent rhythm. This group includes the congas, tambourines and
shakers.
2) The ambience instruments - instruments that are used
sparingly for the sake of ambience. This group includes the bar chimes,
rain sticks, or even a roll on the cymbals played with the mallets.
From
this we can already see the most common problem, attempting to use the
ambience instruments as part of a consistent groove. A mallet roll on
the cymbals every two counts, for example, when it should be used only
as a fill once or twice in a song, or playing the bar chimes
continually for three or four bars of the chorus, are prime examples of
this kind of mistake.
The other common problem is when people
playing the groove instruments do not fit their playing into the
structure of the song. They end up pounding away mindlessly whether
they are at the verse, chorus or ending of the song.
Please plan
your parts. If you are playing the tambourine, for example, trying
playing the tambourine on the second and fourth count, or maybe just
the fourth count, during the verse. In the pre-chorus, play it on the
second and fourth count but a little louder. And when you get to the
chorus, you can shake it to an eighth-beat (quaver) pattern if you are
holding the tambourine in your hand. If you are not, you can continue
tapping it as before but add in a shaker part with your other hand.
This is an example of planning your parts according to the structure of
the song.
The third problem is not keeping the groove parts
consistent. This can arise from a lack of skill or because the player
is bored and trying to make the parts musically interesting by changing
the beat every bar. Please do not do that. It catches the attention of
the congregation, and even at a subconscious level that is a
distraction. Even in secular music the acclaimed percussionists like
Alex Acuna keep their groove parts consistent. There is a lesson for us
in that.
Finally, the most important piece of advice: sing along
with the song. Always. I see percussionists in church with their eyes
and mouths closed, grimacing and straining intently to feel the song as
they play. There's no need for that. Playing auxiliary percussion for
worship is simple if you sing together with the congregation and let
your singing guide you in your choice of notes.
In conclusion:
auxiliary percussion, whether it is used together with a drum kit or by
itself, has great potential to enhance the worship experience of the
people of God. Follow the guidelines here and you will better utilize
that potential for the glory of God and the blessing of his people!
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