Cannonball Vintage Reborn Tenor Sax with Cannonball 5J HR & Otto Link STM NY 7.
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I have played on a variety of worship teams over 18 years. As anyone playing worship knows, sax (and other instruments) are generally ignored in the genre. Keys, synth, and guitar are the instruments of modern worship. This means that any type of saxophone will be writing their own part. While I have played both tenor and alto in worship sets, tenor is my voice, so much of this pertains to tenor. So, how do I stay relevant in worship?
(The following is intended as an aid for sax, not a statement against worship leaders)
1) Unless asked, worship leaders take the solos. There is no place for altissimo, although it can be done tastefully when rare opportunities arise
2) Decent leaders use chord sheets and backing tracks rather than music. If you create an interesting part, write up the music to read. In time, you can remember the part and play from memory. Maintain consistency each time you play a particular song. In this way, you can add a dynamic to the music instead of "copying" the track.
3) Since the guitarists are playing a lot of rhythmic chords in the music, imitating the recordings with a karaoke worship, I have found the best things to follow are either backup vocals or the bass line. Creativity with dynamics is best.
4) Many worship teams use the "wall of sound" technique in live settings. Unfortunately, this tends to bury a tenor. Consequently, playing fills cannot be heard near as much as playing frills. It is a worship team and not a saxophone ensemble. (sad face)
5) The number one thing all worship leaders notice is whether or not you are in tune. This is true for all music. But it means fast articulation is not nearly as impressive as good intonation in a worship set. Listen to the bass if you are following the bass line, listen to the keys if that is where you have similar lines, or listen to the worship leader if no one else.
6) A smooth sound with an occasional jazzy feel works well during altar service. But bear in mind that too much jazz is perceived as "playing in minors" which is not appreciated unless the main tune is a minor.
I find these points to work for me, whether playing with a larger team with good equipment or playing with the organist and another lady singing with a tambourine. Some of these observations may be due to my inability to play well. I have always been a melodic player rather than a speed racer. I am still learning, and have gleaned a great deal from reading here. Thank you all for enabling my improvement. All comments are welcome.
(The following is intended as an aid for sax, not a statement against worship leaders)
1) Unless asked, worship leaders take the solos. There is no place for altissimo, although it can be done tastefully when rare opportunities arise
2) Decent leaders use chord sheets and backing tracks rather than music. If you create an interesting part, write up the music to read. In time, you can remember the part and play from memory. Maintain consistency each time you play a particular song. In this way, you can add a dynamic to the music instead of "copying" the track.
3) Since the guitarists are playing a lot of rhythmic chords in the music, imitating the recordings with a karaoke worship, I have found the best things to follow are either backup vocals or the bass line. Creativity with dynamics is best.
4) Many worship teams use the "wall of sound" technique in live settings. Unfortunately, this tends to bury a tenor. Consequently, playing fills cannot be heard near as much as playing frills. It is a worship team and not a saxophone ensemble. (sad face)
5) The number one thing all worship leaders notice is whether or not you are in tune. This is true for all music. But it means fast articulation is not nearly as impressive as good intonation in a worship set. Listen to the bass if you are following the bass line, listen to the keys if that is where you have similar lines, or listen to the worship leader if no one else.
6) A smooth sound with an occasional jazzy feel works well during altar service. But bear in mind that too much jazz is perceived as "playing in minors" which is not appreciated unless the main tune is a minor.
I find these points to work for me, whether playing with a larger team with good equipment or playing with the organist and another lady singing with a tambourine. Some of these observations may be due to my inability to play well. I have always been a melodic player rather than a speed racer. I am still learning, and have gleaned a great deal from reading here. Thank you all for enabling my improvement. All comments are welcome.
