Ceremony music that makes your heart sing
Ingrid Hughes
Sarah Michelle Geller may not remember what she did last summer, but she’ll surely remember that Someone to Watch Over Me played during her wedding in Mexico to husband, Freddie Prinze Jr. Music has a place of honor at every wedding. With a few tender notes it pays homage to the past, while embracing the future. More importantly, music has the power to place an indelible stamp on the festivities, making them uniquely the bride and groom’s. Making sure you have the right tunes as you walk down the aisle is as important as making sure the right man is waiting for you at the end of it. AVOID SOUR NOTES Know the site’s policy concerning music. Some churches and synagogues have strict guidelines about what is and is NOT acceptable. For instance Richard Wagner’s Bridal Chorus from Lohengrin and Felix Mendelssohn’s Wedding March from A Midsummer Night’s Dream are banned from the traditional Catholic wedding ceremonies. They’re considered secular music. Many temples also prohibit their use. Arrange a meeting with the musical director of your chosen location and seek advice about your selections. Once you’ve made choices ask to attend a wedding ceremony to see how the music resonates in the actual space. Music played on a boom box in an office sounds quite different in a cathedral with 50-foot ceilings. Keep in mind the technical requirements of the musicians and the acoustic capabilities of the space. Larger, older churches not only have a history, they have great acoustics and most usually have a quality sound system. But that doesn’t mean your musicians won’t need additional outlets for their equipment. Whatever you chose—solo harpist, flutist, African drum ensemble, or jazz band—ask the performer(s) to the site for a trial run. If your ceremony is outdoors, unless you can show proof that Mother Nature will cooperate on your big day, they (and their instruments) will need shelter. FREE LEGAL ADVICE: Get your agreement with the musicians in writing with all the specific requests. SOOTHING TO YOUR EARS, SCORCHING TO YOUR WALLET Distinction comes at a cost. If you want to hire the world famous Boys Choir of Harlem, like Spike Lee did at his 1993 wedding to Tanya Lewis, it’ll set you back about $8000. Spike may have done the right thing, but you might have to settle for the cheap thing. Opt for a big sound on a modest budget. Check out local choral groups and high school choirs. Keep in mind that you can find musicians listed online at LongIslandWeddingpages .com, as well as in this magazine. If you opt to use canned, instead of fresh tunes, check out Ceremony Music Resource Page, an on-line wedding music guide. It has thousands of selections and free downloads. FREE BEATS: http://www.intac.com/energize/CMRP/ Here are five places in a wedding where music sets the pace: PRELUDE TO A KISS The purpose of pieces played during the prelude is to gradually build anticipation. This music provides a backdrop as guests greet one another and find their way to a seat. The tone of the wedding is also set here. A violin solo says elegance; a swingy jazz band says fun; Ella says classy and sassy. Now would be an ideal time to pay a tribute to your soon-to-be spouse’s ethnic heritage. At her 2000 wedding to filmmaker Guy Ritchie, Madonna arranged for guests to be serenaded by Scottish bagpipers as a shout out to her mate’s Scottish roots. No Doubt’s lead singer, Gwen Stefani dittoed the move at her 2002 nuptials to Bush’s Gavin Rossdale. THE HIT PARADE: Air from Handel’s Water Music; Sheep May Safely Graze, by Bach; Minuet (Berenice), by Handel; and Toccata in E Minor, by Pachelbel. PROCESSIONAL Your supporting cast of characters is center stage. Parents of the groom are seated and your mother, is escorted down the aisle. At this point the music acts as a conveyor belt, getting your wedding party from point A to point B in a timely manner. If you chose to do something special here, it should be an ode to your mother. A piece of music or a song that has special significance to her could be played, or sung, as she walks down the aisle. Finally, with a single keystroke of a piano or a delicate change in tempo on a flute, the spotlight is on you. Your guests whip around to get an eyeful of bridal beauty. Take a moment to take everything in. Make eye contact with your friends in the crowd, breathe in, breathe out, and take a step. Don’t rush; the show won’t start without you. BRIDAL BEATS: Apotheosis, The Sleeping Beauty, by Tchaikovsky; Arrival of the Queen of Sheeba, by Handel; Fanfare, Sir Arthur Bliss. CEREMONY If you decide to have music here, make it soft. Your guests shouldn’t have to lean forward to hear your vows. If you’re using a string quartet, have the quietest of the four instruments playing. CELEBRATORY SOFTNESS: Ave Maria, by Shubert; Air in G, Orchestral Suite, by J.S. Bach; The Lord’s Prayer, by Malotte. RECESSIONAL Maybe you thought you heard bells somewhere between “With this ring…” and “You may now kiss the bride,” but that was just the start of your recessional melody! Choose something happy and joyous to get your guests in a party mood. POSTLUDE You didn’t faint or rip your veil—that’s reason enough to celebrate. The tone here should be upbeat and festive (tinged with relief.) It’s okay to choose something off-kilter, but not tasteless. The underlying point of the postlude music is to move your guests out the door and onto the reception. THANKS FOR COMING!: Allegro Moderato, by Handel; Celebration, by Kool and the Gang; I Feel Good, by James Brown.