There is virtue in being able to hold back and play less. Some of us may have never thought about this before, but it is a profound shift in mentality when we enter the practice room and play in a band setting.
Many of us who have dabbled in music as an individual may develop the tendency to make up for what is not there, which is not always beneficial when playing in a band setting.
Why Should We Play Less?
Think of a potluck. What happens when everyone decides to bring the whole group’s worth of food?
It will destroy everyone’s stomachs.
The same concept takes place in a band setting. When every musician in the room tries to play to their heart’s content, they create a wall of sound that is not so pleasing to the ear and destroy everyone’s appetite afterward.
Listen to the following sample track of a balanced band with a guitar solo:
Then listen to this track filled with overplaying:
Do you hear it? We need to have proper dynamics (energy) and create space.
Create Space
If the drummer treats their drumset as a punching bag and the lead guitarist plays solos for the full duration, there will just be too much happening to stomach the song. It applies to singers singing harmony as well. They need to refrain from singing too loudly and not overpower the melody.
There are two ways we create space when we play less – we give way to band members and give rest within the song.
Space for Band Members
Let’s say that you are the keyboardist in the band, and the song is arriving at the guitarist’s solo. You will continue to provide the music for the guitarist to solo. Do you play more or less?
LESS.
Doing so entails:
- Allowing the intended instruments to be heard
- Prevent clashing of notes
- Reducing confusion for the audience when deciding who to listen to
This applies not just to solo parts but all song segments. The band must work together to frame the music and make it cohesive to allow the audience to hear the intended instrument.
On the contrary, not being mindful of the overall balance of sound of the band will lead you to overpower other instruments. If every band member does this, it will be an unpleasant wall of sound for your sound engineer and audience.
Choose to play less when other instruments are intended to shine.
Space for Rest
We all have a physical and mental limit to how much we can listen to.
Firstly, the louder the band is, the more damage our ears will receive. We don’t want to lose our hearing after five minutes of listening to Mr. Grumpy Drummer bashing the heck out of his snare drums. There is a reason sound engineers protect their ears when mixing for live concerts.
Secondly, we humans are very prone to ear fatigue. Being constantly subjected to a wall of sound over a long period can make us feel exhausted and sometimes nauseous. Though not clinically recognized, it is still a phenomenon many listeners experience.
By playing less, we vary the song’s dynamics, delivering both highs and lows to the listeners. The lows will give audiences breathing space before building them back up to the highs, resulting in a more impactful climax.
It also gives us more options for rearrangements if that is your goal. Flipping an energetic song 180o and turning it into something serene can result in a fresh listening experience.
Choose to play less when the song lowers in energy.
Different Ways To Play Less
Before we proceed, let’s listen to the balanced track one more time:
Volume – How hard you hit the drums, strum your guitar, and sing your notes. Even if the sound engineer can bring your volume down, it is good to know how to adjust your intensity to match the band’s dynamics. How hard you play also affects the tone of your instrument. Try hitting the keys softly, then loudly, and note the difference. Aim for a lighter touch to play less.
An example of poor volume control. Take note that the track volume was not changed:
Rhythm – The smaller the division of closely strung notes, the more energetic a song will sound. You can compare the differences between playing a ballad and funk music. Hold your notes longer to play less and use larger subdivisions such as 1/4th and 1/8th notes.
An example of increased rhythm in the bass:
Tone – Picking the right sound for the right situation. Higher frequencies tend to be associated with energy, such as the crash cymbals or synths. Picking warmer sounds like Rhodes on the keys will help. Tone also means picking sounds that don’t clash with others too much, and covering frequencies that are not there.
Listen here as the drums use the crash cymbals instead of the hi-hat:
Drop Out – Sometimes the best way to play less is to not play at all. You don’t have to keep playing for the full duration. Removing the guitar, bass, or even drums drastically changes the song’s dynamics and creates a ton of space for other instruments to shine. Again, you don’t have to play for the full duration.
Here, the keys will drop out, leaving the guitar to be highlighted:
Conclusion
Playing less in a band requires us to put aside self-gratification and ego. All of this can only happen when we are actively listening to our band and thinking about adjusting ourselves according to dynamics. Instead of always playing what we want, sometimes we have to play what the band needs so that the music can flourish.
That is not to say that your time to shine will never come. Keep practicing this art of restraint, and many musicians will find joy in jamming with you.