Ask the Author: Deke Sharon
Answered Questions (8)
Deke Sharon
Helping others. Much of what I have done with my life had no clear path, and I've had to learn by trial and error, and draw upon information from diverse sources. If my writing helps others, saves them time, presents a path forward, then it has done its job.
Deke Sharon
Hi Daryl,
We're laying out and editing the book right now. It took longer than we'd anticipated to pull together all of the pieces, so now our hope is to have it out in June. Thanks for being patient!
We're laying out and editing the book right now. It took longer than we'd anticipated to pull together all of the pieces, so now our hope is to have it out in June. Thanks for being patient!
Deke Sharon
I love a cappella. I want other people to have the amazing experiences and feelings and friendships and creative satisfaction I have had while singing. So, when I learn something, I want to share it. When I find something I want others to have it as well. When my experiences coalesce into a new perspective, I want others to get a glimpse of how things seem to me, so that I can learn from them. I post, I blog, and now that I have enough to say I'm writing books.
In other words, there's no lack of inspiration. Music inspires me every day. And when there's something new to say, I'll start writing right away.
In other words, there's no lack of inspiration. Music inspires me every day. And when there's something new to say, I'll start writing right away.
Deke Sharon
I have far more experience with writer's block as an arranger and songwriter than I do as an essayist/author, but my process is the same. If I'm stuck in the chorus, I jump to another part of the song. I write the parts I know, I answer the questions I can answer. Then, once I've gained momentum in the easy sections I'm usually much more able to go back to the section that gave me trouble and work through it.
In fact my 10 step arranging process follows this same formula: answer the big questions first, frame everything out, decide what goes where, then the detail work - the actual writing - is far easier because you're focused on one small piece of work.
In fact my 10 step arranging process follows this same formula: answer the big questions first, frame everything out, decide what goes where, then the detail work - the actual writing - is far easier because you're focused on one small piece of work.
Deke Sharon
The book that's just now finishing up, tentatively entitled "A Cappella" (for lack of a more descriptive title) will be a comprehensive guide to all aspects of contemporary a cappella: how to start a group, direct a rehearsal, run live sound, make an album, etc. The idea came from simple necessity: lots of people want to know the best practices for this new music style/form, and no guide exists... yet!
Deke Sharon
From an arranging perspective, there's nothing more beneficial than steady output followed by feedback. Find a local group or two and offer to arrange for them for free or a reduced price, then attend their rehearsals so you can see what works and what doesn't, what the director correctly assumed from your sheet music and what he/she misinterpreted, what choices the choir clearly likes and when they seem to get bored. In time you'll be able to anticipate a director and choir's response, allowing you to far more effectively arrange for groups remotely.
Deke Sharon
Good question, Daryl.
Let's start with the core focus: the song's emotional message. As doctors say, "first, do no harm." Complex, unusual syllables will often draw attention in a more sparse, delicate ballad, so be careful about getting too clever.
Instead, I recommend you use a soft syllables, open vowels (as you mentioned), and lyrics. Emphasize the words/lyrics most important to the song's meaning. You can draw them out to an almost unrecognizable length, but they'll still be infused with meaning by the background singers, who will prefer them to singing interminable "oo"s and "ah"s.
You can play with slow shifts from one vowel to another (opening from "oo" to "oh" to "ah" is a nice way to crescendo, as the timbre shift naturally brings about the increase in volume. And an eighth note variation back and forth between two syllables (like "oo-oh-oo-oh") can provide a very gentle, pleasant pulse.
And if thats not enough, use harmony and melody/counterpoint to create more levels of interest instead of relying too much on syllables/timbre. Think of the power of a string section that is providing essentially only one sound across the entire section (violins to double bass) and yet the countless examples of brilliant string arranging that you've heard on albums, in concert, and in movies.
Good luck, hope this helps
Let's start with the core focus: the song's emotional message. As doctors say, "first, do no harm." Complex, unusual syllables will often draw attention in a more sparse, delicate ballad, so be careful about getting too clever.
Instead, I recommend you use a soft syllables, open vowels (as you mentioned), and lyrics. Emphasize the words/lyrics most important to the song's meaning. You can draw them out to an almost unrecognizable length, but they'll still be infused with meaning by the background singers, who will prefer them to singing interminable "oo"s and "ah"s.
You can play with slow shifts from one vowel to another (opening from "oo" to "oh" to "ah" is a nice way to crescendo, as the timbre shift naturally brings about the increase in volume. And an eighth note variation back and forth between two syllables (like "oo-oh-oo-oh") can provide a very gentle, pleasant pulse.
And if thats not enough, use harmony and melody/counterpoint to create more levels of interest instead of relying too much on syllables/timbre. Think of the power of a string section that is providing essentially only one sound across the entire section (violins to double bass) and yet the countless examples of brilliant string arranging that you've heard on albums, in concert, and in movies.
Good luck, hope this helps
Deke Sharon
I'm currently writing a book about contemporary a cappella in general, with sections about history, practice, starting a group, running rehearsals, repertoire, arranging by ear, etc. My hope is that it will be out by the end of the year.
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