Full Version: Programme Order (atcl Singing)
The obvious order to me would probably me chronological, does that seem a reasonable approach, or are there any cunning ideas for that?
Do what works best musically.
My advice would be to make sure you start with an attention grabber and make sure you have a good finale piece to finish with. Then fit the rest of your programme in so that nothing clashes in style or key with the works either side of it.
Ideally, you don't want two exceedingly strenuous pieces together - make sure you pace yourself.
For any exam or recital I do, I record myself singing every piece, then listen to the programme as a whole in the order I think I'll perform it. That way I can check that there are no jolting clashes in the middle of it.
My advice would be to make sure you start with an attention grabber and make sure you have a good finale piece to finish with. Then fit the rest of your programme in so that nothing clashes in style or key with the works either side of it.
Ideally, you don't want two exceedingly strenuous pieces together - make sure you pace yourself.
For any exam or recital I do, I record myself singing every piece, then listen to the programme as a whole in the order I think I'll perform it. That way I can check that there are no jolting clashes in the middle of it.
Excellent advice from katyjay.
My DipABRSM clarinet recital ended up in reverse chronological order because I felt it hung together better that way - a "sit up and take note" opening movement of the opening work, and fireworks to finish - but the facts that (i) it was in reverse chronological order; and (ii) the programme was in alphabetical order of composer surname were happy coincidences rather than deliberate design on my part. Earlier proposed programmes failed on both the chronological and alphabetical scores.
Good advice re stamina too - I opened my final recital at university with the Ireland Fantasy-Sonata because I knew there was no way I'd be able to hit the altissimo top Bb (yes, really
) after 30 minutes' continuous playing.
What's in your programme, Tim?
My DipABRSM clarinet recital ended up in reverse chronological order because I felt it hung together better that way - a "sit up and take note" opening movement of the opening work, and fireworks to finish - but the facts that (i) it was in reverse chronological order; and (ii) the programme was in alphabetical order of composer surname were happy coincidences rather than deliberate design on my part. Earlier proposed programmes failed on both the chronological and alphabetical scores.
Good advice re stamina too - I opened my final recital at university with the Ireland Fantasy-Sonata because I knew there was no way I'd be able to hit the altissimo top Bb (yes, really
) after 30 minutes' continuous playing.What's in your programme, Tim?
Apparently starting with a 'safe' bet is a good move - if it is 'attention grabbing' then all the better, but don't put yourself out on a limb. Ease yourself into the recital 
A good finish is a must. Katyjay and Deborah's advice is excellent.
A good finish is a must. Katyjay and Deborah's advice is excellent.
Its probably going to be:
Scarlatti Consolati e Spera
Handel Revenge Timotheus Cries
Bach Grosser Herr
Schubert In Der Ferne
Beethoven Adelaide
Debussy Beau Soir
Quilter Fear no more
Warlock Robin Goodfellow
The Handel and Bach, followed closely by the Schubert are the most physically demanding, the Beethoven is at least as long but isn't too strenuous. The Scarlatti is fairly demanding. The Quilter is fairly straightforward, and with the Debussy and the Warlock I just need to get my head round their modern harmonies (well modern to my mind).
(Edit: Its all from the 2009 syllabus list, I thought that was far easier as they have expanded the repertoire list, rather than going for an own choice programme and trying to guess what standard they think a piece is, when there seems to be some overlap between grades 6 - fellowship.)
Scarlatti Consolati e Spera
Handel Revenge Timotheus Cries
Bach Grosser Herr
Schubert In Der Ferne
Beethoven Adelaide
Debussy Beau Soir
Quilter Fear no more
Warlock Robin Goodfellow
The Handel and Bach, followed closely by the Schubert are the most physically demanding, the Beethoven is at least as long but isn't too strenuous. The Scarlatti is fairly demanding. The Quilter is fairly straightforward, and with the Debussy and the Warlock I just need to get my head round their modern harmonies (well modern to my mind).
(Edit: Its all from the 2009 syllabus list, I thought that was far easier as they have expanded the repertoire list, rather than going for an own choice programme and trying to guess what standard they think a piece is, when there seems to be some overlap between grades 6 - fellowship.)
I'd agree with all the above - sometimes there will be good reason to put pieces out of chronological order. For my ATCL the most modern, avant-garde piece was not easy listening, nor did it have any kind of "feel-good factor" to it, and in any case was unaccompanied, so I played some florid and uplifting Corelli last. In order to ensure that I kept my supportive accompanist (my teacher 
) in the room throughout the exam, I played accompanied pieces first and last, and scattered the unaccompanied ones through the rest of the programme too - we then asked if he could stay, and he simply stepped to the side of the stage for my solo pieces, returning to the harpsichord when needed again. Another consideration in programming is the keys of your pieces - best to ensure that you have no awkward jumps in key to cope with, so putting related ones together, or at least no jarring combinations adjacent to each other, is also a useful tip..
) in the room throughout the exam, I played accompanied pieces first and last, and scattered the unaccompanied ones through the rest of the programme too - we then asked if he could stay, and he simply stepped to the side of the stage for my solo pieces, returning to the harpsichord when needed again. Another consideration in programming is the keys of your pieces - best to ensure that you have no awkward jumps in key to cope with, so putting related ones together, or at least no jarring combinations adjacent to each other, is also a useful tip..
Be very careful putting all your really demanding songs all together.
For example I would never put something really demanding physically before or after the Bell Song from Lakme, neither would I open a Recital with it. It is too big an ask.
Singers need to treat themselves like atheletes. If you put a couple of fast laps in the middle aka demanding songs, will you have enough stamina left to complete the recital?
Now if the answer to that question is yes, you have drawn up a very entertaining programme fro your ATCL, if the answer is no, then it is time to rethink.
Good luck.
For example I would never put something really demanding physically before or after the Bell Song from Lakme, neither would I open a Recital with it. It is too big an ask.
Singers need to treat themselves like atheletes. If you put a couple of fast laps in the middle aka demanding songs, will you have enough stamina left to complete the recital?
Now if the answer to that question is yes, you have drawn up a very entertaining programme fro your ATCL, if the answer is no, then it is time to rethink.
Good luck.
Stamina isn't too much of an issue but I will see about breaking up the Handel, Bach and Schubert, even then all three do have reasonable rests for the voice.
Sometimes having to sing 'can belto' does help develop support!
Sometimes having to sing 'can belto' does help develop support!
The duration and length of the piece is also very important for ordering your programme.
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