“Surely it only takes 2 minutes?!”, a non-musician asked me when I told them I’d spent an hour or so sorting a new programme out.
Err, no!
Us singers have a lot to consider when writing a set list or programme. Firstly we have a mountain of repertoire to select from and organise. Rather than choosing between 20-minute sonata X or Y, in this instance I needed to select and order 36 different titles. Within that, I needed to then consider the following. (And I’m sure there’s more I’ve forgotten to list!)
- The bigger picture: the occasion and balance across the whole set or programme
- Getting started
- A balance of keys, tempos, textures, instrumentation, styles and… feels (as Gen A say)!
- Vocal load and stamina
- The interval
- Stories
The bigger picture
Gauging the right music for an event or occasion is really important and is applicable to all musicians. When it comes to amplification though, singers especially need to consider the impact of their voice when unamplified. A light breathy folk song without a mic, for example, won’t fill a noisy pub. And a loud, dramatic aria may overpower a small drawing room in a country manor!
- Is the music purely background or a feature performance?
- What is its purpose: to cover awkward silences, educate, entertain, lift the mood, console…?
- What kind of space will the music be filling?
- Does it need to be amplified and what equipment does the space allow for?
- What is the client or the audience expecting? (And what will they actually likely enjoy?)
Getting started
Every voice has its strengths. It makes sense to ease into a performance with those first. Less confident on a top G#? Pop that in fourth rather than straight away! Want to catch people’s attention, immediately? Begin with a showstopper that you know you’ll pull off really well!
Getting a balance
The audience may not realise things are feeling a bit samey because you’ve sung five songs in the key of D minor, but your accompanist will. And they will also definitely not thank you if they have to improvise in that same key five times in a row! Switching between major, minor and other modes is one option to keep things fresh. Linking keys within the cycle of fifths is another. Progressing up a tone or semitone, song at a time, might subtly build tension; moving down a key, releasing it.
Likewise, making sure there’s a varied mix of tempos, textures, instrumentation, styles and moods will keep the audience – and you the performer – engaged. I always have to remind myself that, however much I love a ballad or slow art song, I want to keep those listening awake!
Staying the course
It takes a while to know which songs work best at which point of a programme vocally. Consider not only the length of your performance, the vocal load (physical demand upon the voice) each song requires, but also whether you will be using your voice a lot before the performance and even the day before. Tiredness, hydration, and even hormones can also affect vocal stamina, so make sure to take these into account when learning to pace yourself. Lose your top/ low notes as your voice tires? Avoid songs with a lot of those at the end of a set or programme! At the end of your menstrual cycle? Perhaps avoid songs which require the most vocal flexibilty!
The interval in a concert or even a pub gig can bring up its own considerations and affect the choices made in song programming. Will you be expected to chat with the audience and have little chance to rest your voice? Will you be fed? If I’ve kindly been provided with a meal and it’s more spicy/ creamy than my voice likes, I sometimes struggle with certain songs upon returning to the stage. Programme safely and pop in a few easy ones to get back in the groove.
Stories
Less practically is the consideration of the stories you’re telling. Do you have a theme to your programme? Can you link your songs into a narrative? Singing about heartbreak relentlessly can be a bit much for anyone. Can you give the audience hope with new love, empowerment… or even revenge?!
Accept imperfection
Lastly, as a recovering overthinker myself, remember that there’s no “perfect” programme or set list. Be ready to adapt on the day, re-jig things to handle a cold, go with the mood of the room, or even a change in national mood following significant news! Rigidly sticking to “the plan” can create a barrier between performer and audience by not reading the room. It can also add unnecessary pressure on the singer, making a performance a lot more challenging than it needs to be. Be kind to yourself – and enjoy!
