I've started a parallel conversation with my bandmates and friends in another local group; I'll try to move them over here. Meanwhile, pasting another from that conversation (with permission), from Claire (often a guest here), lone singer in a group doing Irish traditional material (Round the House - RTH).

~ Becky

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Ok, I will add my 2 cents. It was very interesting to read Dan's comment and I completely agree with the concept that polish requires practice and that it may be gained at the sacrifice of versatility. Each of us, and our bands, make decisions that just are what they are on that score. It fits my personality, and I think RTH as a whole, to seek the polished outcome in the long run, even if polish is not immediately attainable. Practice is the key, but on the other hand, I am not sure that practice needs to always occur as a group. There is lots of preparation that each of us can do outside the band practice scene. Here is what I try to do in my role as singer.   

First of all, early on in our band I had a voice lesson with Dede Weiland and she taught me a very important lesson. The singer is in charge of the song. That means that the singer has a lot of responsibility too. They bring the song to the band, and do everything possible to help the band accompany the song. The singer is also in charge on stage.   This takes time and experience to develop, for RTH about 2-3 years of time to find the balance.

When I find a song that I want to do, I learn it on my own first. I write out the notes to the songs and give them to the band, I know the pace of the song and have it down cold, so that I can sing it to a steady beat, sometimes using a metronome to practice. I don't always meet all these goals the first time I bring a song to the band. Usually, the first time I jsut sing it for them and ask if they like it. Sometimes they want to play along right then, other times they don't.   If they hate the song, I skip it and keep it a cappella. I learn approximately 1/3 more songs than make it to the full band stage, and that is fine with me. The next time we get together, we try it again, after they have had time to become familiar with the song, maybe learned the melody based on the notes I give them, or sometimes a recording of me singing the song.

At some point, we will have a practice-fest with the song and work on it for at least a half an hour to an hour until is starts to jell. Often, the way I sing the song will change in response to the addition of instruments, and often I will find new struggles to come in exactly right or to phrase the song's ending correctly once everyone is playing along. Each band member comes up with their part on their own, I do not tell them what to do, just give them feedback and the basics of the song. We do this as a band and we are all in learning mode at this point. Still, if I think something in their playing doesn't work or works great it is my responsibility to tell them, and I do it. I find this part of the process to be exacting, exhilarating, and very creative for all of us.

Through all of this, I feel a huge amount of gratitude that my fine band mates would take the time and energy to do this song arranging stuff, and I try to let them know that. I know they are tune people at heart, although they have all remarked how challenging and rewarding it is to accompany songs. Maybe one of them can write in about that.   

Then we will take it on stage, but usually the accompaniment and singing doesn't fully solidify for several performances, sometimes several months. Only by repeatedly doing it, does the song fully bloom as an accompanied piece.

Why do all this? ... well for me, the accompaniment has to be solid, for the singer to sing the song as well as possible. I know that the band is there for me and although I give slight hand signals, the communication is largely non verbal. If I lose a verse, they are always able to just keep going, til I get my head together. If I know the rhythm is solid, the breaks set, the intro down, I can do all sorts of things vocally that help the meaning of the song reach the listener, which is a very hard thing to do well (doesn't happen all the time, regardless of practice), and to me, is the point of doing the song in the first place.

As far as counterpoint, harmony, etc, this may be very song specific. But I think it is good to have different musical texture on each songs. The role of the fiddle is difficult because it is so like the human voice that it generally needs to be played with drones and some flourishes not interfere. I am not sure how Sharon comes up with those parts, but I really appreciate it.   Also, some instrument needs to maintain a solid rhythm, because that is invaluable for the singer. On the other hand, if the rhythm is too prominent, it may interfere with the lyrical quality of the song.... these are all calls that we make as a group.

So, I know I sound very goal oriented about this, but, I felt there was no point in writing in if I didn't explain the process that we go through from my perspective. I am very interested in other people's methods, which I am sure are equally well suited to them.

Claire