I recently polled filkers about how they knew when it was okay to add an accompaniment when someone was performing a song, and how they knew when it wasn't okay. Also see How do I come up with an accompaniment?

Joe Bethancourt:

"It's ok when they don't glare at me or throw things. I tend to keep it VERY quiet unless they grin and obviously encourage me to join in at a louder volume."

Jeff Bohnhoff:

"I tend to jump in very infrequently. I will do it if the performer is someone I know, and I am absolutely certain that they won't mind, or if they have asked me to play along in advance. Even then, I'll only play something if I feel that it can add something and not detract from the song or performer. I almost never play along with someone I don't know. If you do play along, it's *not* OK if what you are playing is taking attention away from the performer and/or the song.

Be sensitive. If a song is very spontaneous, and the performer is very confident, then it may be alright to jump in. If the performer is hesitant, or has trouble on their own, then you'll probably just throw them off if you try to accompany them. At the other end of the spectrum, if the song is obviously very structured and rehearsed, then it's pretty likely that you'll just get in the way if you play along. This has happened to Maya and I a few times. We have some songs with intricate arrangements, and we've had people jump in and sort of stomp all over the song. I don't ever make a point of it, it's not the end of the world, but I do think that people should be generally sensitive to other's performances. Once you do jump in, pay attention to the performer. If he or she seems distracted or irritated, then back off. People should be allowed their turn, and may not wish to share the "spotlight". If you have any doubt, just ask. Pick your spots to jump in. If you're primarily a blues guitarist, don't try to force blues licks into a Celtic Ballad, and so on, wait until someone plays something that your style is compatible with. "

Dave Clement:

"I tend to follow the approach I use in irish music sessions. I listen through the first verse and chorus to hear what is going on, decide if there's anything I might do to enhance the song, start noodling very quietly to ensure that I am actually in tune with the person doing the song, and listen for any clues that might indicate that I should drop out. I also listen to see who else is jamming. It can be overdone. There's nothing more distracting to a singer than eight bodhrans and four dumbecks banging along with your song, each one playing their own rhythm. similarly, you don't need five people trying to play a lead guitar break in a song.

It's also key to gauge the main performer. If they are a novice they may be negatively impacted by others playing along. If they are the type who must hear themselves play solo then it's better to stay out. If someone asks to have other stay out then... And, it never hurts to ask the person if they mind others playing along. Everything I say here re playing along goes for folks singing along too. The voice is another instrument after all. It takes skill to sing appropriate harmony and add to the texture of a song. And "adding" is what it is all about. Good jamming makes the main performer sound that much better. It almost always makes them feel much better about their music too. It's a form of appreciation when others join in and help on a song. I believe that it helps nurture people and bring them closer together when it is done well. When it is done badly then you need to grit your teeth and stay back."

Heather Rose Jones:

"Signs that it's ok include:

- a direct invitation by the performer for people to join in

- a clearly positive reaction by the performer to an accompaniment

- a relatively experienced and/or confident singer -- someone who won't be thrown off or distracted by accompaniment, and who is a strong enough performer that accompaniment won't drown them out.

- a song that can take the weight -- one with a strong melodic structure and a reasonably regular or predictable chord progression; not one that depends strongly on nuances of the lyrics.

- a song that works well with the instruments and accompaniment styles you have available

- other people joining in in a clearly non-rehearsed fashion

- a known history of the performer enjoying and/or encouraging accompaniment

- an overtly "sing-along" type situation

- a circle with an immediate history of spontaneous accompaniment

Signs that it's not ok include:

- a specific request for no accompaniment

- a clearly negative reaction by the performer to an accompaniment

- a new, uncertain, hesitant, or very quiet performer -- someone likely to be thrown off or drowned out by accompaniment; or similarly a "first performance" situation where even an experienced performer may be easily distracted.

- a song that is extremely variable musically, or that relies heavily on vocal nuance, or that involves "acted" interpretation (e.g., lots of tempo manipulation)

- the participation of what are clearly rehearsed accompanists performing a prepared arrangement

- a musical genre in which you are not comfortable improvising"

Jane Mailander:

"98% of the time I don't care if instrumentalists join in when I sing I'll usually say something up front if I don't want accompaniment, or if I want to sing alone."

Also see:
Instrumental Etiquette by Joe Kesselman

Comments? Suggestions? Please post below.

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