It’s becoming more common for solo singer-songwriters and bands to ask string players to perform with them in clubs and other concert venues. For string players, these performance opportunities can be fun and even well paying. But many classical string players assume that playing with a band is easy, and then struggle to create their own parts and find a musical place in the band. The artist usually expects the string player to be able to “jam” after just one or two run-throughs.

As an alternative string player, I’ve had the opportunity to perform and record with a wide variety of artists, and along the way I have experienced most of the difficulties that string players will face in these situations. By being prepared for these potential problems, I was able to successfully rock with a band. And you can, too.

Se Habla Music?

One of the main challenges you may face with this sort of gig is mere communication. Working with rock musicians can be a frustrating and time-consuming process if you aren’t prepared to speak the “language” of nonclassically trained pop and rock musicians. In most instances, you won’t be provided with the luxury of arranged and notated parts to play, and the artist or band will have to adequately communicate what they want. You can expect that they won’t know the difference between pizzicato, tremolo, and G# minor, so avoid using technical musical terms if you can.

The best way to communicate is by demonstrating. Know where the verses, choruses, and bridges are for all of the tunes that you’re playing, and try to memorize your parts. No one else will be using a music stand. Should you?

Best Supporting Actor

Trust me: for everyone’s sanity and the best interest of the music, you’ll want to check your ego at the door. You have been hired to make the artist look and sound good, not to impress everyone with your chops. As tough as it may be for our classical egos to accept, it’s important to remember that the song is not about us or our virtuosic playing. Good rock and pop string arrangements almost never have tons of notes. Remember to be a good listener, and don’t be afraid to lay out or play simple “string pads” to support the music. (Pop musicians often refer to long notes as “footballs” or “string pads.” These are long chord tones, sometimes double-stops, which add harmonic texture, but stay out of the rhythmic texture. They’ll usually change along with the chords of the song.)

Theory 101

Take some time to bone up on your basic music theory if it’s gotten a little rusty. Practice playing arpeggios for all major and minor triads and seventh chords. To make good note choices, you need to know the difference between chords like G7 and Dsus. Guitar players (using capos) and vocalists have no trouble playing or singing an uptempo tune in F#. Would you?

Bands usually (if at all) notate songs with a chord chart. Ask for a chord chart and a recording of the tunes that you will play prior to the first rehearsal. This will give you all of the information you will need (harmony and structure) to come up with cogent and musically appropriate parts to play. Without a chart, you’ll waste time figuring out these basic elements. Most bands and decent guitarists have these, and they will make your job much, much easier.

By being prepared to communicate with nonclassical musicians, doing some simple musical preparation, and having a willingness to play a supporting role, you can save everyone time and frustration, create more musical string parts, and get on your way to being a successful rock or pop string player.