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| String Arrangements |
Date Posted:
8/11/2003
Author:
Keith Getty
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HOW: You recently scored the songs "The Heart of Worship" and "Let everything that has breath" for us. How do you start out writing an orchestral arrangement? Are there any particular methods you use to find inspiration and explore ideas?
KG: In all arrangements I listen and try to get as much information about how it is being used and as much feedback from producer, artist or composer (or even worship leader or pastor in some cases). We then try to put something together with them that helps what they are trying to achieve with the song.
For "Heart of Worship" we tried to create a moment in the service for stillness and reflection. In the context of the production we were involved in, there was much up tempo music and much big symphonic music and I knew this song gave us a great opportunity to pause (something we need to do a lot more of). It began with a simple reflective string prelude which lasts for 40 secs based on the acoustic guitar riff on Matt's original recording - it gradually faded out as Matt came in with "when the music fades". A string quartet faded in (giving a more intimate sound which is very popular with a lot of pop bands at the minute), moving to full section and let the choruses sing out with the violins taking a 'hook' counter melody - always leaning into the phrase 'all about you Jesus'. The end dies, echoing Matt's melody and then has a fade out - once again giving people 30-40 seconds just to pause.
For "Let everything that has breath" the challenge was to add to the rhythm and excitement to the fantastic pulse and also not to sound 'out of date'. A lot of people who do orchestration have amazing classical training, jazz knowledge, contemporary music experience or studio techniques but don't really understand songs and the orchestrations can sound very out of date (or just a little odd!).
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Most in 'heartofworship.com' circles might recognise Keith Getty's name as co-writer of the song "In Christ Alone" with Stuart Townend. Yet Keith is also a producer of shows and albums, and score-writer with credits including instrumental arrangements for flautist James Galway, and choral arrangements for movie recordings. In song orchestration he has worked for artists such as Clannad's Maire Brennan, Graham Kendrick, London Community Gospel Choir and Dove award winning Ginny Owens. With such experience, he is in an ideal position to give some insights into the art of writing orchestrations for worship teams.
HOW: Keith, how long have you been writing orchestrations, and what got you involved in this area of music?
KG: actually began my orchestration work in the church. I started being involved in the praise times during youth group and evening services when I was mid-teens and really wanted to combine classical instruments with the band. We tried adding string quartet and then brass and wind for Christmas services. I always loved and worked hard at it although some of the early arrangements must have been a challenge to listen to!
HOW: So when did you first write scores for worship recordings? Are there any differences to bear in mind when writing for music that is aimed to be congregational?
KG: I first began writng scores for worship albums when Steven Doherty at Kingsway allowed me to produce and arrange the "New Irish Hymns" album with Margaret Becker, Maire Brennan, and Iona's Joanne Hogg.
For worship albums, I believe we should try and write expressive, powerful music of the very best quality whatever the song type. Too often we have compromised or undervalued what we do by rushing or uncritically accepting mediocre standards. The bible gives us an incredible wealth of creative inspiration inviting us to stretch the gifts he has given us.
In terms of writing for church services the two things I am most aware of are the context with which they are being used and the restrictions the practicalities bring. If the piece is being used for closing hymn, solo or communion - it may require a different touch or leaving certain instruments out and should not distract the congregation - music is only at best there to serve the people in the service. Also we must keep in mind the practicalities of rehearsal time, standard of the players and size of the group. It is often best kept as simple as possible for their benefit.
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