WEDDING MUSIC GUIDE
Welcome to our guide, we hope that you find it useful. There is lots of information here, so please browse at your leisure and tell your fellow brides and grooms-to-be all about it. If you have any suggestions for us to include, please get in touch. Likewise, if you have any specific questions and cannot find the answer here, please e-mail us so that we can include the answer in the future.
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PLEASE REMEMBER THAT THE GUIDE IS THE PROPERTY OF THE UNIQUE MUSIC COMPANY.
The advice on offer covers the following areas:
Popular Wedding Pieces
Wedding Hymns
Orders of Service
Discussing Music with your Minister and Organist
Having Friends or Family Perform at your Wedding
What Music is Allowed at a Civil Wedding?
Hiring Musicians Which Musicians?
Choosing CDs for your Wedding
Music for your Reception
Music for Outdoors
Please scroll down to read each section.
Popular Wedding Pieces
Click on the title to hear the pieceJ. S. Bach: Air (on a G String) from Suite no. 3 (organ)
Famous for its use in the Hamlet cigar advertisement, this piece was originally written for a small string orchestra but works very well on the organ. While too slow for the entry of the bride, the piece is a good choice for before the service or during the signing of the register.
Length: 2 minutes 30 seconds
Difficulty: medium
Other options for performance: string quartet, string chamber orchestra
Suitability: before service, signing of the register
J. S. Bach: Wachet auf, ruft uns due Stimme (Awake, awake for night is flying) (organ)
This sadly neglected masterwork is suitable for before the service or during the signing of the register. Its use is particularly appropriate at a Christmas wedding, and a choral version is in existence where the choir sing the tune that appears midway through the piece.
Length: 3 minutes
Difficulty: hard
Other options for performance: choir in addition to the organ
Suitability: before service, signing of the register
J. S. Bach: Jesu, Joy of Man's Desiring (organ)
This piece is the traditional choice for the signing of the register and a choir can be added to add variety.
Length: 2 minutes 15 seconds
Difficulty: consult your organist, there are many different arrangements for organ, and some are simplified
Other options for performance: string quartet
Suitability: before service, signing of the register
Marc-Antoine Charpentier: Prelude from 'Te Deum' (trumpet and organ)
The first of our selection to include an optional trumpet part, this piece is an excellent choice for the entry of the Bride. Many organs have trumpet 'stops' (that is the ability to create lifelike trumpet sounds) but nothing can match having the live trumpeter to create a fanfare quality.
Length: 1 minute 20 seconds
Difficulty: organ alone, medium, but the trumpet part is hard
Other options for performance: organ alone
Suitability: entry, exit
Jeremiah Clarke: Trumpet Voluntary (trumpet and organ)
Sometimes called the Prince of Denmark's March, this piece also has a solo trumpet part that can be omitted and played on the organ.
Length: 2 minutes 25 seconds
Difficulty: organ alone, medium, but the trumpet part is hard
Other options for performance: organ alone
Suitability: entry, exit
Cesar Franck: Panis Angelicus (flute and organ)
Made famous some years ago by the television drama 'The Choir', Panis Angelicus was originally written for high voice and organ. The melody can be played on a number of different instruments.
Words:
Original Latin: Panis angelicus, fit panis hominum; Dat panis coelicus figuris terminum. O res mirabilis! Manducat Dominum Pauper, pauper, servus et humilis.
English translation: The bread of angels becomes the bread of man; This bread of heaven does away with symbols. What a marvel! The poor, the servant and the humble May feed on their Lord.
Length: 2 minutes 10 seconds
Difficulty: medium, the vocal part, when sung, is hard
Other options for performance: organ alone, organ and clarinet, piano and voice, piano alone and many more
Suitability: before the service, signing of the register, as a stand alone performance
Charles Gounod (after J. S. Bach): Ave Maria (flute and organ)
French composer Gounod added a beautiful melody for high voice to a J.S. Bach prelude to create this piece. Again, the voice can be replaced with an appropriate instrument; the melody is good enough to be heard without words.
Words:
Original Latin: Ave Maria, Gratia plena, Dominus tecum, Benedicta tu, In mulieribus et benedictus, Fructus ventris tui Jesus. Sancta Maria, sancta Maria, Ora pro nobis, Nobis peccatoribus, Nunc et in hora mortis nostrae, Amen
English translation: Hail Mary, Full of grace, The Lord is with thee. Blessed art thou among women, And blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, Pray for us sinners, Now and at the hour of our death, Amen
Length: 2 minutes 10 seconds
Difficulty: medium, the vocal part is very high
Other options for performance: organ alone, piano and voice, piano and 'cello and many more
Suitability: before the service, signing of the register, as a stand alone performance
G. F. Handel: Air from 'Water Music' (organ)
Water Music was originally written for orchestra, along with most of Handel's work. The nature of his writing means that his pieces work very well on organ, and also that they are very appropriate for weddings!
Length: 1 minute 10 seconds
Difficulty: medium
Other options for performance: string quartet or orchestra
Suitability: before the service, signing of the register
G. F. Handel: Arrival of the Queen of Sheba (organ)
Originally composed for two oboes and a string chamber orchestra, this piece is from a much larger work, the Oratorio 'Solomon'. It has long been established in the traditional wedding repertoire, and for good reason, being suitable for either entry or exit. The piece has been arranged for just about every combination of instruments known to man, so whichever musicians you choose; chances are they can play this piece!
Length: 2 minutes 20 seconds, can be cut for entry
Difficulty: hard
Other options for performance: endless, there is even a version for Caribbean steel pans
Suitability: entry, exit (The Departure of the Queen of Sheba?)
G. F. Handel: Bouree from Water Music (organ)
This piece is an excellent stand-by. It is very short, and can be stretched or cut to fill up (heaven forbid) anything going wrong. If another piece doesn't quite last long enough for instance, this can be inserted. While it was not originally written for organ, it does work well.
Length: 1 minute 15 seconds
Difficulty: easy
Other options for performance: string quartet
Suitability: before service, signing of the register, emergencies
G. F. Handel: 'Finale' from Music for the Royal Fireworks (trumpet and organ)
Another choice that can be greatly enhanced by the addition of a solo trumpeter, but it can work very well on organ alone.
Length: 2 minutes 20 seconds
Difficulty: medium
Other options for performance: organ alone
Suitability: entry, signing of the register, exit
G. F. Handel: 'March' from Occasional Oratorio (organ)
An Oratorio is a large choral work (The famous 'Hallelujah Chorus' is taken from another Handel Oratorio called Messiah) and this is a march that links two sections. Its triumphant nature makes it a good choice for a wedding, and indeed it was not long ago that it was heard at nearly every wedding.
Length: 1 minute 20 seconds
Difficulty: medium
Other options for performance: string quartet
Suitability: entry, signing of the register, exit
G. F. Handel: 'March' from Scipio (organ)
This piece is very similar to the previous choice, and the two combined make a traditional pair. One for entry and the other for exit makes for an elegant solution to the problem of music.
Length: 1 minute
Difficulty: medium
Other options for performance: string quartet
Suitability: entry, signing of the register, exit
Traditional: Londonderry Air (special arrangement for brass quintet)
A traditional folk tune, that is now known better in it's adaptation as Danny Boy. It can appear almost anywhere in a service, and makes the most sense for Grooms called Daniel or Brides called Danielle! This is the first track that does not include organ. While arrangements do exist for the piece on organ, it is such a flexible melody that here we have our own arrangement for brass quintet (two trumpets, French horn, trombone and tuba) to illustrate what a wonderful combination this can be.
Words (O Danny Boy, for Londonderry Air omit words):
O Danny Boy, the pipes, the pipes are calling, From glen to glen, and down the mountain side. The summer's gone and all the roses falling; It's you, it's you must go and I must bide. But come ye back when summer's in the meadow, Or when the valley's hushed and white with snow. I'll still be there in sunshine or in shadow; O Danny Boy, O Danny Boy, I love you so!
Length: 1 minutes 30 seconds
Difficulty: medium
Other options for performance: endless, from solo instruments to whole orchestras
Suitability: any time during a civil or church service, although if the words are used it may be inappropriate for a church wedding. The words for Amazing Grace fit for this tune and can be substituted in church.
Felix Mendelssohn: O for the wings of a Dove (organ)
This piece is taken from a much longer anthem called 'Hear my Prayer'. Originally for high voice and piano.
Words:
O for the wings of a dove! Far away would I rove! In the wilderness build me a nest, And remain there for ever at rest.
Length: 2 minutes
Difficulty: medium
Other options for performance: most solo instruments can play the vocal line, combined with piano or organ
Suitability: before the service, entry, signing of the register
Felix Mendelssohn: Wedding March from A Midsummer-night's Dream (organ)
Heard several times during the film 'Four Weddings and a Funeral', this is the most traditional way to finish your wedding service. Like most of the music here, it was originally an orchestral piece, but the adaptation for organ is far better known.
Length: 2 minutes, can be extended to 5 minutes
Difficulty: medium
Other options for performance: string quartet, orchestra
Suitability: entry, exit
Johann Pachelbel: Canon in D, Variations on a Ground Bass (special arrangement for string quartet)
Currently a very popular choice for entrance music this piece is far more appropriate for the signing of the register, being too slow to walk to. However, this didn't stop it from appearing in the film 'Father of the Bride'. The term canon is used in music to mean many parts all playing the same material, but interlocking to create different effects. In the true sense of the word, this piece is not actually a canon, but it does have the same repeating bass line throughout. At this point we introduce the string quartet, the most versatile wedding music band around. Not only can a string quartet provide music for the outdoors, but almost any music sounds good when written for the combination.
Length: 2 minutes
Difficulty: medium/hard
Other options for performance: the original is for a baroque orchestra (strings, organ and harpsichord) and there is an excellent organ version available
Suitability: entry, signing of the register
Henry Purcell: Trumpet Tune (trumpet and organ)
This piece is another example of organ and trumpet writing. The two complement each other very well, mostly because they are both loud instruments. This tune was genuinely written by Henry Purcell (unlike our fith selection, Trumpet Voluntary, which was for years thought to be by Purcell, but was in fact written by Jeremiah Clarke) who was the best composers to come out of England before Elgar.
Length: 1 minute 20 seconds Difficulty: medium
Other options for performance: organ alone
Suitability: entry, exit
Richard Wagner: Bridal March ("here comes the bride") from Lohengrin (organ)
Easily the most famous piece of wedding music, 'here comes the bride' is in fact from an opera. The wedding which it represents ends in tragedy when the groom murders his new wife, but that hasn't stopped thousands of brides walking down the aisle to it! Timing the music for the entrance of the bride is a tricky business. Despite all plans for a stately walk, most brides reach their husband-to-be's side very quickly! This version lasts 50 seconds, which through experience seems to be the right length for an average church aisle and gives everyone enough time to have a good look at the bride!
Length: 50 seconds, but can be extended to upto 5 minutes
Difficulty: easy
Other options for performance: string quartet
Suitability: entry
Charles-Marie Widor: Toccata from Symphony for Organ no. 5 (organ)
This is the only piece in our selection to be originally written for organ, and it is the best example of the instrument's capabilities. The piece is very hard, and most church organists should shy away from it. To get the best from it the organ in your church needs to be large, meaning that conversation with your new spouse down the aisle could be tricky!
Length: 2 minutes, but the full version is 6 minutes
Difficulty: hard
Other options for performance: there is a version for brass ensemble, but we say stick with the organ!
Suitability: exit
Wedding Hymns
All things bright and beautiful
Words: Mrs. C. F. Alexander, Tune: Royal Oak
All things bright and beautiful,
All creatures great and small,
All things wise and wonderful,
The Lord God made them all.
Each little flower that opens,
Each little bird that sings,
He made their glowing colours,
He made their tiny wings.
All things bright, etc.
The purple-headed mountain,
The river running by,
The sunset, and the morning
That brightens up the sky:
All things bright, etc.
The cold wind in the winter,
The pleasant summer sun,
The ripe fruits in the garden,
He made them every one.
All things bright, etc.
The tall trees in the greenwood,
The meadows where we play,
The rushes by the water
We gather every day.
All things bright, etc.
He gave us eyes to see them,
And lips that we might tell
How great is God Almighty,
Who has made all things well.
All things bright, etc.
Dear Lord and Father of Mankind
Words: John Whittier, Tune: Repton
Dear Lord and Father of mankind,
Forgive our foolish ways!
Re-clothe us in our rightful mind,
In purer lives thy service find,
In deeper reverence praise.
In simple trust like theirs who heard,
Beside the Syrian sea,
The gracious calling of the Lord,
Let us, like them, without a word
Rise up and follow thee.
O Sabbath rest by Galilee!
O calm of hills above,
Where Jesus knelt to share with thee
The silence of eternity,
Interpreted by love!
Drop thy still dews of quietness,
Till all our strivings cease;
Take from our souls the strain and stress,
And let our ordered lives confess
The beauty of thy peace.
Breathe through the heats of our desire
Thy coolness and thy balm;
Let sense be dumb, let flesh retire;
Speak through the earthquake, wind, and fire,
O still small voice of calm!
Father, hear the prayer we offer
Words: Maria Willis, Tune: Sussex
Father, hear the prayer we offer:
Not for ease that prayer shall be,
But for strength that we may ever
Live our lives courageously.
Not for ever in green pastures
Do we ask our way to be;
But the steep and rugged pathway
May we tread rejoicingly.
Not for ever by still waters
Would we idly rest and stay;
But would smite the living fountains
From the rocks along our way.
Be our strength in hours of weakness,
In our wanderings be our guide;
Through endeavour, failure, danger,
Father, be thou at our side.
Guide me, O thou great Redeemer
Words: William Williams (Tr Peter Williams), Tune: Cwm Rhondda
Guide me, O thou great Redeemer,
Pilgrim through this barren land;
I am weak, but thou art mighty,
Hold me with thy powerful hand:
Bread of heaven,
Feed me till I want no more.
Open now the crystal fountain
Whence the healing stream doth flow;
Let the fiery cloudy pillar
Lead me all my journey through:
Strong deliverer,
Be thou still my strength and shield.
When I tread the verge of Jordan,
Bid my anxious fears subside;
Death of death, and hell's destruction
Land me safe on Cannaan's side:
Songs and praises
I will ever give to thee.
Happy are they, they that love God
Words: Robert Bridges, Tune: Binchester
Happy are they, they that love God,
Whose hearts have Christ confest,
Who by his cross have found their life,
And 'neath his yoke their rest.
Glad is the praise, sweet are the songs,
When they together sing;
And string the prayers that bow
the ear Of heaven's eternal King.
Christ to their homes giveth his piece,
And makes their loves his own:
But ah, what tares the evil one
Hath in his garden sown!
Sad were our lot, evil this earth,
Did not his sorrows prove
The path whereby the sheep may find
The fold of Jesu's love.
Then shall they know, them that love him,
How all their pain is good;
And death itself cannot unbind
Their happy brotherhood.
Words: Charles Coffin (Tr John Chandler), Tune: Tallis's Ordinal
O Holy Spirit, Lord of grace,
Eternal fount of love,
Inflame, we pray, our inmost hearts
With fire from heaven above.
As thou in bond of love dost join
The Father and the Son,
So fill us all with mutual love,
And knit our hearts in one.
All glory to the father be,
All glory to the Son,
All glory, Holy Ghost, to thee,
While endless ages run.
Words: W. Chalmers Smith, Tune: St Denio
Immortal, invisible, God only wise,
In light inaccessible hid from our eyes,
Most blessed, most glorious, the Ancient of Days,
Almighty, victorious, thy great name we praise.
Unresting, unhasting, and silent as light,
Nor wanting, nor wasting, thou rulest in might;
Thy justice like mountains high soaring above
Thy clouds which are fountains of goodness and love.
To all life thou givest, to both great and small;
In all life thou livest, the true life of all;
We blossom and flourish as leaves on the tree,
And wither and perish; but naught changeth thee.
Great Father of glory, pure Father of light,
Thine angels adore thee, all veiling their sight;
All laud we would render: O help us to see
'Tis only the splendour of light hideth thee.
Jerusalem (Suitable as instrumental)
Words: William Blake, Tune: Jerusalem
And did those feet in ancient time, Walk upon England's mountains green?
And was the holy Lamb of God On England's pleasant pastures seen?
And did the countenance divine Shine forth upon our clouded hills?
And was Jerusalem builded here Among those dark satanic mills?
Bring me my bow of burning gold! Bring me my arrows of desire!
Bring me my spear! O clouds, unfold! Bring me my chariot of fire!
I will not cease from mental fight, Nor shall my sword sleep in my hand,
Till we have built Jerusalem In England's green and pleasant land.
Lead us, heavenly Father, lead us
Words: James Edmeston, Tune: Mannheim
Lead us, heavenly Father, lead us
O'er the world's tempestuos sea;
Guard us, guide us, keep us, feed us,
For we have no help but thee;
Yet possessing every blessing
If our God our Father be.
Saviour, breathe forgiveness o'er us,
All our weakness thou dost know;
Thou didst tread this earth before us,
Thou didst feel its keenest woe;
Self denying, death defying,
Thou to Calvary didst go.
Spirit of our God, descending,
Fill our hearts with heavenly joy;
Love with every passion blending,
Pleasure that can never cloy;
Thus provided, pardoned, guided,
Nothing can our peace destroy.
Words: Mary Berne and Eleanor Hull, Tune: Slane
Be thou my vision, O Lord of my heart,
Be all else but naught to me save that thou art,
Be thou my best thought in the day and the night,
Both waking and sleeping, thy presence my light.
Be thou my wisdom, be thou my true word
Be thou ever with me, and I with thee, Lord,
Be thou my great Father, and I thy true son,
Be thou in me dwelling, and I with thee one.
Be thou my breastplate, my sword for the fight,
Be thou my whole armour, be thou my true might,
Be thou my soul's shelter, be thou my strong tower,
O raise thou me heavenward, great Power of my power.
Riches I heed not, nor man's empty praise,
Be thou my inheritance now and always,
Be thou and thou only the first in my heart,
O Sovereign of heaven, my treasure thou art.
High King of heaven, thou heaven's bright Sun,
O grant me its joys after vic'try is won,
Great Heart of my own heart, whatever befall,
Still be thou my vision, O ruler of all.
Love divine, all loves excelling
Words: Charles Wesley, Tune: Blaenwern
Love divine, all loves excelling,
Joy of heaven, to earth come down,
Fix in us thy humble dwelling,
All thy faithful mercies crown.
Jesu, thou art all compassion,
Pure unbounded love thou art;
Visit us with thy salvation,
Enter every trembling heart.
Come, almighty to deliver,
Let us all thy grace receive;
Suddenly return, and never,
Never more thy temple leave.
Thee we would be always blessing,
Serve thee as thy hosts above;
Pray, and praise thee, without ceasing,
Glory in thy perfect love.
Finish then thy new creation:
Pure and spotless let us be;
Let us see thy great salvation,
Perfectly restored in thee;
Changed from glory into glory,
Till in heaven we take our place,
Till we cast our crowns before thee,
Lost in wonder, love, and praise.
O God, whose loving hand has lead
Words: John Boyd Moore, Tune: Melcombe
O God, whose loving hand has lead
Thy children to this joyful day,
We pray that thou wilt bless them now
As, one in thee, they face life's way.
Grant them the will to follow Christ
Who graced the feast in Galilee,
And through his perfect life of love
Fulfilment of their love to see.
Give them the power to make a home
Where peace and honour shall abide,
Where Christ shall be the gracious head,
The trusted friend, the constant guide.
Words: John Bode, Tune: Wolvercote
O Jesus, I have promised
To serve thee to the end;
Be thou for ever near me,
My Master and my Friend;
I shall not fear the battle
If thou art by my side,
Nor wander from the pathway
If thou wilt be my guide.
O let me hear thee speaking
In accents clear and still,
Above the storms of passion,
The murmurs of self-will;
O speak to reassure me,
To hasten or control;
O speak, and make me listen,
Thou guardian of my soul.
O Jesus, thou has promised
To all who follow thee,
That where thou art in glory
There shall they servant be;
And, Jesus, I have promised
To serve thee to the end;
O give me grace to follow,
My Master and my friend.
O let me see thy footmarks,
And in them plant my own;
My hope to follow duly
Is in thy strength alone;
O guide me, call me, draw me,
Uphold me to the end;
And then in heaven receive me,
My Saviour and my Friend.
Praise, my soul the King of heaven
Words: Psalm 103, Tune: Praise, my soul
Praise, my soul, the King of heaven;
To His feet thy tribute bring.
Ransomed, healed, restored, forgiven,
Evermore His praises sing: Alleluia! Alleluia!
Praise the everlasting King.
Praise Him for His grace and favor
To our fathers in distress.
Praise Him still the same as ever,
Slow to chide, and swift to bless. Alleluia! Alleluia!
Glorious in His faithfulness.
Frail as summer's flower we flourish,
Blows the wind and it is gone;
But while mortals rise and perish
Our God lives unchanging on, Praise Him, Praise Him,
Hallelujah Praise the High Eternal One!
Father-like, He tends and spares us;
Well our feeble frame He knows.
In His hands He gently bears us,
Rescues us from all our foes. Alleluia! Alleluia!
Widely yet His mercy flows.
Angels, help us to adore Him;
Ye behold Him face to face;
Sun and moon, bow down before Him,
Dwellers all in time and space. Alleluia! Alleluia!
Praise with us the God of grace.
Words: Psalm 23, Tune: Crimond
The Lord's my shepherd, I'll not want;
He makes me down to lie
In pastures green; he leadeth me
The quiet waters by.
My soul he doth restore again,
And me to walk doth make,
Within the paths of righteousness,
E'en for his own name's sake.
Yea, though I walk through death's dark vale,
Yet will I fear no ill:
For thou art with me, and they rod
And staff me comfort still.
My table thou has furnished
In presence of my foes;
My head thou dost with oil anoint,
And my cup overflows.
Goodness and mercy all my life
Shall surely follow me;
And in God's house for evermore
My dwelling-place shall be.
Orders of Service
No two weddings are the same, and many factors need to be considered; is it a church or civil wedding? Do you have your heart set on a particular combination of instruments or singers? Maybe you want family members to perform…
The following suggestions combine music of similar styles to ensure everything works well together.
Traditional Church Wedding
Entry of the Bride: (organ) Wagner, Bridal March from Lohengrin
Hymns: The Lord's my shepherd, Love divine, all loves excelling, Immortal, invisible
To replace a reading: (organ and voice) Gounod, Ave Maria
Signing of the register: (organ) Handel, Air from Water Music, Bach, Air from Suite Number 3
Exit: (organ) Mendelssohn, Wedding March
Traditional Civil Service
Entry of the Bride: (string quartet) Handel, Arrival of the Queen of ShebaSigning of the register: (string quartet) Pachelbel, Canon in D
Exit: (string quartet) Mendelssohn, Wedding March
Contemporary Church Service
Entry of the Bride: (organ and trumpet or brass quintet) Clarke, Trumpet Voluntary
Hymns: Jerusalem, All things bright and beautiful
Signing of the register: (brass quintet) The Londonderry Air
Exit: (organ) Widor, Toccata from Symphony 5
Contemporary Civil Service
Entry of the Bride: (piano and voice) Mendelssohn, O for the wings of a dove
Signing of the register: (piano and voice) Franck, Panis Angelicus
Exit: Handel, (trumpet and piano) Finale from Music for the Royal Fireworks
Classic Church Service
Entry of the Bride: (organ and trumpet) Charpentier, Prelude from Te Deum
Hymns: Dear Lord and Father of mankind, Father hear the prayer we offer
Signing of the register: (organ) Bach, Jesu Joy of Man's Desiring, Bach, Awake, Awake for night is flying
Exit: (organ) Handel, March
from Scipio
Classic Civil Service
Entry of the Bride: (piano) Wagner, Bridal March from Lohengrin
Signing of the register: (piano and flute) Gounod, Ave Maria
Exit: (piano) Bach, Jesu Joy of Man's Desiring
Discussing Music with your Minister and Organist
When considering music for a church wedding, consultation with your vicar and organist is essential. Every church will have different people working in it, with wide ranging views on what is appropriate and what is not.
For example, some vicars will not allow Wagner's Bridal March to be performed at wedding ceremonies at which they are officiating. It can be said this is a traditional part of the marriage service, but it is also taken from an opera in which the groom murders his new wife almost as soon as the service is over. Mendelssohn's Wedding March is another example; the piece is taken from Music for Shakespeare's A Midsummer-night's Dream, in which the marriage is staged in a less than serious way.
These are extreme cases, but they emphasise why it is just as important to discuss music with your vicar, as it would be with your registrar for a civil service.
There are no specific rules regarding what can and cannot be performed in a church wedding, but make sure you check that all of your hymns and pieces are appropriate for your church. If your music is not classically based, make sure that the vicar has understood exactly why you want it to be performed, and this may help you convince her/him. Many vicars do allow modern music, but you must ask them.
Your organist will have probably performed at many weddings, and as a result will have preferred pieces that she/he will be very keen for you to have. If you like these pieces then use them, as the organist will play them well. If, however, you do not like them, you are probably paying the organist a fee, and he must play the pieces that you like. There is a balancing act between ensuring you have what you want, and making sure the pieces are not so hard that the organist cannot play them.
You may be able to pay for the use of the organ alone, and then hire an outside organist if you do not think the one resident at the church is up to scratch. Check this with the vicar, some people can be offended by this suggestion, so be tactful. There are many vicars who will not allow recorded music in their churches, just because they feel duty bound to their organists.
Having Friends or Family Perform at your Wedding
Many people know others who play an instrument or can sing, and requesting friends or family to perform at your wedding can add another personal touch.
However, two things must be considered. The first is that your wedding must be perfect for you. You must be sure that the performance given will be as good as it possibly can be. If it is not, then it will be embarrassing, and for nobody more so than the person performing. If somebody offers to perform, and you know it is not what you want or will not be up to scratch, then you must be firm and say no.
The second thing to consider is whether your performers would enjoy it. Good performances take an enormous amount of time to prepare, and this can be stressful for those doing the preparation. You must also let the performers have some control over what is being performed. If you have your heart set on a very hard piece, and the performers feel they are not up to it, do not push them.
If in doubt, stay away from this option, but if all parties are happy then this can add a wonderful dimension to any ceremony.
What Music is Allowed at a Civil Wedding?
The rules regarding music at civil weddings have been relaxed in recent years meaning that it is now far easier to choose your music. However, the registrar at a civil wedding still has the final say and most have been used to working under the old rules, which did not allow the music to have any religious connotations whatsoever. As a result we still recommend a close consulation with your registrar when it comes to your music.
Hiring Musicians
We know that not everybody will choose to book their musicians through The Unique Music Company. Many people have friends of friends who have bands for example, or that certain venues have musicians on retainer.
So how can you be sure the musicians you book will be up to scratch? The stereotypical view of a professional musician is that they never get up before 3pm, turn up late for everything and spend most of their time drinking copious amounts of alcohol. For the most part this is a myth.
Being a professional musician in today's musical market requires exactly that…to be professional. This means that most musicians are on time, smart, talented and prepared for the job in hand. There are too many players and not enough gigs, so second best is not good enough. This has had the benefit to you the consumer of bringing down the cost of hiring live performers.
Let us use the example of hiring musicians from cold, in other words you have seen an advertisement or been given a phone number and have decided that this is what you want. For examples sake, let us use a string quartet.
It is another myth that musicians are overpaid for what they do. Yes, the going rate for a top quality performer at a wedding is £100-£300, and they will rarely play for more than an hour. However, into this cost must be factored the preparation and equipment costs. A good string quartet will have done approximately 10-20 hours of rehearsal to prepare a demanding programme of 1 hour; this is after the individual players have already spent several hours learning their own parts and of course years at college etc. They need to know exactly how the other three members of their group play, and respond to them. An hour's worth of music will be made up of between 20 and 30 pieces, each published and costing approximately £20-£30. The cost of a reasonable quality violin or 'cello can range from £5000 to £1,000,000 (yes £1,000,000) the maintenance of that instrument is extremely expensive, as are the accessories needed such as strings. Over the course of a year, that £100 for each gig is gound down to a much less impressive figure.
So how much should you pay? Well, our fees are £100 per player, plus travelling expenses. This is a good guide, but it does depend upon the quality of your ensemble. A quartet promoting itself for example will have far more costs than working for an agency, and so can ask for anything up to £800. Anything more than £600 is too much for four players in our opinion, unless you're hiring players of the quality of Yehudi Menuhin!
Most quartets will have made a recording to show them at their best, try and get a copy from them and listen carefully. If they are no good, don't hire them. It is acceptable to check out any claims made in a brochure, even to the extent of phoning educational institutions to check their qualifications or to get references.
Having phoned the quartet leader and given him or her the date, they will check with the rest of the quartet to make sure all of them are free. Musician's schedules change very quickly, so be specific. The more notice you give the better.
The quartet is quite within its rights to ask for a small deposit, but make sure you are given a receipt and we would recommend writing a simple contract for all to sign. This can be a very simple document detailing the times and dates, what is required (such as specific repertoire) and the costs. Make sure that you have checked all costs with the quartet, such as who is paying for travel, food (it is not essential to invite your players to the reception) or accommodation.
As soon as you have paid any money or confirmed the details, send directions to the venue and any other necessary information. If you want your musicians to attend your rehearsal, bear in mind that their travel expenses should be paid. We would always recommend for your musicians to attend your rehearsal, it eliminates random factors, and timings can be checked. It also allows for last minute changes.
On the day of the wedding, the Best Man is the natural choice to deal with the musicians. He should call to check everything is as it should be, and that they are running on time. He should also make sure they can access the church or registry office early (they may want to rehearse) and make sure the space for them to perform in is ready.
Once the performance has been given, it is customary to pay the musicians then and there. Most players will have heard the term 'cheque in the post' too many times for their own liking, but this should have been confirmed in advance.
Some musicians may approach you at a later date to ask for a testimonial. Be honest, if they were good, say so; if not then we suggest say nothing!
If you have used an agency, you have much more comeback after a performance has been given. If your players were late for example, or didn't play what you asked them to, tell the agency.
Which Musicians?
Solo Instruments
Harp: A wedding classic, usable at the service or at the reception to greet your guests before the receiving line.
'Cello: The Bach 'cello suites are truly wonderful pieces, and a cellist can perform them just about anywhere. The 'cello is often used at outdoor receptions, and the total repertoire available is very large.
Violin: Like the 'cello, a violin can be played almost anywhere, and there is a large unaccompanied repertoire. Combining two together in duets is also very effective. See also, string quartet.
Piano: Not quite as flexible as a violin or 'cello, but if there is a piano in your church or reception venue then why not make use of it? Pianists can often take requests (although it should be made clear if you do want this option). Jazz piano need no longer have that 'cruise-liner' feel.
Oboe: More and more popular as a solo instrument, the oboe has a unique sound that can fill a church beautifully.
Clarinet: Once described as 'the instrument that comes closest to the human voice' and this can make it very useful. Many pieces for voice can be altered to be played on the clarinet and, with no words, this means that sacred music can be performed at civil weddings.
Organ: A wonderfully versatile instrument, when played well. Most churches have organs but lots also have dreadful organists. Check, and, if necessary, hire one in.
Common Groups
String trio, quartet or quintet: Wonderfully flexible, a string group can be used in the service or at the reception. They can play for hours at a time, and usually have a huge repertoire (have you seen the Movie, Titanic?) The parts can be doubled up to create string chamber orchestras; and a clarinet, oboe or horn can be added to a quartet to play several brilliantly composed quintets.
Saxophone quartet: Very quirky and unique. This is a very distinctive and versatile sound, usually made up of the four different saxophones: soprano, alto, tenor and baritone.
Clarinet quartet: Another unusual option. Sometimes a good clarinet quartet can double as a saxophone quartet.
Flute and harp: Two instruments that combine brilliantly, especially as an accompaniment for a meal.
Wind groups: (quintets, octets, dectets, 12 players, 13 players etc.) Usually made up of different combinations of flutes, clarinets, oboes, French horns and bassoons, the sound of any of these groups is distinctive.
Clarinet trio: Commonly believed to be made up of 3 clarinets, but in fact it is clarinet, 'cello and piano.
Piano trio: Another misunderstood group, it is not 3 pianos, but piano, violin and 'cello.
Vocal groups: Hundreds of different combinations exist. Many people have friends whom they would like to sing at their wedding. See 'Having Friends or Family Perform at your Wedding'.
Most instruments work very well when combined with piano. This is also true for singers. This list only makes a few suggestions; there are thousands of different ways to have beautiful music at your wedding.
Choosing CDs for your Wedding
Live music is not for everyone. While it is without doubt the best way to hear music, venue size or budget will often prohibit people from employing live players.
This does not mean you have to have silence; there are hundreds of good recordings that can be used instead.
Walking into the classical music section of a large record store can be daunting. Everyone around you appears to know exactly what they want, and where to find it. You on the other hand have come merely to buy wedding music; the staff will think you foolish if you can't find it yourself and may then try and rip you off by selling you what you don't need.
Wrong.
Any classical music store worth its salt will have three things. The first is a huge selection, the second is helpful and knowledgeable staff and the third is up-to-date copies of all the major published CD guides.
The store may have a dedicated wedding music section, containing compiled collections of well known wedding music. A few of these collections are excellent, but many contain only extracts of the various pieces, much like the tracks contained within this guide. They are intended to help you choose, not to be played at the ceremony. Ask the staff for advice on which of these packs are worth purchasing, or even ask to listen to them in the store.
Is it worth investing in good quality recordings when they are most likely only going to be heard once at your wedding? Of course! Would you scrimp on anything else for your wedding? Besides, there is always going to be at least one guest who listens to classical music regularly; shouldn't they have the best?
If you do decide to purchase individual recordings of the pieces you have chosen, which will give you a better result, ask for or look for a copy of either the Gramaphone or Penguin classical CD guides. At this point it pays to be prepared, and to have read this guide!
If you search in the guide for 'The Bridal March' you will not find anything. The guides are usually arranged by composer, meaning that you must search for Wagner. In the CD track listings of this pack, it is explained that the Bridal March is taken from the opera Lohengrin, meaning that you need to look under either Wagner/Lohengrin or Wagner/opera/Lohengrin. The guide will list two or three recordings, with the best being first. At this point, take the guide to the staff of the shop, and ask if they have any of the recordings listed. If they do, you can be safe in the knowledge that the CD in your hand is top quality. There are many hundreds of recordings of most pieces, so if this one has made it into the guide, it is one of the best.
If you find the guides have too much information, then ask the staff to find the pieces for you. If they can only find one or two examples of the piece, then either there are gaps in their knowledge, or the shops selection is limited. Move to another store.
It is also worth remembering that while a piece (such as the Wedding March) may have been written for orchestra, it will also have been recorded in other versions. If you want to hear the organ version of a piece for example, ask the staff to look for you.
The Unique Music Company cannot offer specific recording recommendations in print, but if you are having trouble then please do get in touch with us.
Music for your Reception
When choosing the music for a reception, you have no rules to follow. The most important thing is to create a party atmosphere, and make sure everyone has a good time.
The beginning of a reception is usually just as formal as the ceremony, with perhaps a receiving line and drinks while photographs are taken. Music during this time can be most pleasant, but it must not intrude upon conversation and so a band is perhaps inappropriate.
Several instruments can fit well into this situation, and some of the most popular are a solo 'cello, harp or piano or a string quartet. While a pianist requires their instrument to be in situ before they arrive, a harp, 'cello or quartet can be fitted into most spaces and provide various types of music.
A pianist is the most classic accompaniment for a drinks reception, but this does not mean the sounds associated with a cruise liner. Jazz pianists are able to include well known tunes into their ideas, meaning the favourite tunes of the Bride and Groom can be heard, or requests can be made. A harp, or flute and harp duo, has an elegant sound that will not dominate a room entirely. Many tunes have been arranged for harp or flute and harp, meaning that if necessary competent players can perform for hours. A 'cello meanwhile has lots of repertoire of its own, the famous Bach 'cello suites being a particularly fine example. It has already been said that a string quartet is the most flexible musical ensemble, and at a reception they come in to their own. Playing anything from Bach to Film themes, they can ensure any occasion goes well.
Many people ask if they should have music during the meal. There are arguments for and against this, but most people decide to have something in case their guests' conversational skills are lacking! Again, the music must not dominate any part of the room (tables near the speakers or performers will hear more than those farther away). Recorded music is the natural choice for this part of a wedding, it can be played without breaks and the volume can be controlled very easily if it is found to be obtrusive. If you want live music, do remember that the players will need breaks in a 3 hour meal, and that their repertoire must be large. The combinations mentioned for the beginning of the reception make excellent choices for 'during dinner' music.
Many couples now choose to have an evening reception with dancing. Well, you can't dance without music. While a DJ is the choice preferred by many, nothing beats a live band.
The choice for a bride and grooms' first dance is often brought up when putting together the evening entertainment. The Unique Music Company believes this to be a very personal choice, and millions of different pieces or songs have been used over the years. Provided that your band or DJ is able to perform it, anything can be an appropriate choice for a first dance, and most people have a very good idea of what they want anyway.
So what style? Jazz, Swing, Dixieland, 20s, Rock n Roll, Disco or Retro? These are just a few of the choices!
The classic numbers of Glenn Miller, Duke Ellington, Lionel Hampton, Benny Goodman and all the other big band greats are guaranteed to get people on the dance floor faster than anything else. The sound of 5 saxophones/clarinets, 4 trombones, 6 trumpets, piano, bass and drums is totally unique, and no other combination can play in as many styles. Big Band arrangements exist of just about every piece on the face of the earth! A singer can join the band for some numbers, and leave them to it for others. Most bands have an MC (usually the pianist or lead trumpet player) who will guide the dancers through the numbers and take requests.
The Big Band is, as the name suggests, big and does require a larger venue. However the band can be reduced in size to as little as three pieces and still creates the wonderful effect.
Most people's image of a band is drum kit, keyboard, bass and lead guitar with vocals. This is another option, and many bands have quirky combinations and features. Most bands have a huge collection of repertoire available, but many play nothing from before the 1960s. Be sure that you have discussed with the band exactly what you want, if they can't accommodate you and suggest alternatives, look elsewhere.
For themed or larger weddings, a film or pit orchestra can sound amazing. This is a reduced symphony orchestra, usually with a small number of stringed instruments, 'reed players' who all double or treble on a number of woodwind instruments like clarinet, flute and saxophone and a number of brass instruments. You would find this type of orchestra playing for most film soundtracks or big stage shows.
Music for Outdoors
It has become increasingly popular in this country to follow the American style of an outdoor wedding ceremony or reception. Anyone planning to go down this road and have recorded music should be dissuaded. Aside from the trouble of setting up electrical equipment outside, most speakers are much too small to produce enough volume to fill an unenclosed site.
Most instrumental combinations work well outdoors, but, by following a few simple rules, you can ensure the music sounds as good as it would have done indoors.
Choose portable instruments to avoid setup headaches, having a piano or electric keyboard will mean either lots of heavy lifting, or wires everywhere. Harps are usually carried on trolleys, so they can be moved into gardens, but if your proposed site has steps or uneven ground, they are best avoided.
Small groups are very effective outdoors, be it string quartets, saxophone quartets or small jazz groups. Yes, you can have jazz without a piano; saxophone, acoustic bass (no wires) and guitar is just one example.
Really loud bass penetrates much farther than anything else, so drum kit in a group is not a good idea outdoors; it will sound like drum kit solo.