Developing a Program or Setlist

This topic has been on my mind recently, as I organized and directed performances for an open house last week. Determining the ideal order of pieces for a concert never figured into my college coursework as a music industry studies and music therapy major, but after several years of practice, I feel like it comes down to two principles: EFFICIENCY and ENERGY. When possible, try to keep these concepts in mind when initially selecting pieces.

For those of you who aren't sure where to start when it comes to developing a program or setlist for a show, read on...

Efficiency

Efficiency is about considering the requirements of each piece in order to ensure that performers, instruments, costumes, props, and sets are in the right place at the right time (depending on the type of show, you may have less or more factors to worry about). It's kind of like Sudoku. Unless the songs are part of a pre-existing storyline (such as a musical), this approach can loosely dictate a general order for your show.

For example: 

• If a lot of students are involved in piece, they may need time to get ready. This piece could be placed first, or after intermission, or following pieces that involve other students to allow for the necessary time.
• The same is true if there is a lot of equipment involved in a piece. If much setup time is required, this piece could be placed first, or after intermission, or following pieces that involve other students to allow for the necessary time. On the contrary, if much teardown time is required, this piece could be placed at the end of the first half, at the finale, or preceding pieces that involve other equipment to allow for the necessary time.
• If a student is involved in multiple pieces, they may need time to change costumes or move to a different position. Their pieces could be separated by songs that involve other students.
• If multiple pieces involve the same students or equipment (etc.), it can save time if these are scheduled these back-to-back. 

Tips:

• Solos, duets, and smaller ensembles are useful for preceding pieces that require a lot of setup time, or for following pieces that require a lot of teardown time.
• ​If you have stage curtains, you can also utilize the stage in front of the curtain when adjusting equipment behind the curtain. It is usually easier to fit solos, duets, or smaller ensembles in front of the curtain.
• During rehearsals and the show, have students line up in order. If there are additional staff or volunteers, they can help to direct students when to go onstage. Have extra copies of the program or setlist available for them. If it's just you and the students, announcing each piece (if appropriate for the type of show) can also cue students when it is their turn to come onstage.
• For recitals, especially with multiple soloists, you can decrease transition time by utilizing different parts of the stage. I like to use two pianos or keyboards for recitals, so that one student is prepared to play as soon as the other has finished performing. 

Energy

Energy is about balancing interactions between pieces. You may want to group pieces that are similar, or separate them to create contrast. It is important to consider the flow of energy throughout the program.

​Energy is influenced by the individual character of each piece. Some features of different energy levels are listed below; however, there are always exceptions.

Low Energy

• Slower
• Quieter
• ​Less performers

High Energy

• Louder
• Faster
• ​More performers

Energy is also influenced by the connection between each piece and the audience. Are attendees familiar with the song, or is it new to them? What is the mood of the piece? Lower-energy pieces might evoke feelings of sadness, solemnity, or calm, while high energy pieces might express happiness, excitement, or anger. 

When I think back to every show I have ever directed or performed in, there is a pattern when it comes to energy. In general, concerts:

1. Begin with high energy (or low energy that quickly builds to high energy)
2. Maintain a medium energy, interspersed with low energy
3. Build to high energy at the finale

For shows with intermissions, this is also true for each half. It's because we want to capture the audience's attention at the beginning and the end of the performance. We also want to make sure that we hold their attention in the middle! However, this pattern is not a rule; it is just a starting point. Perhaps you would rather gradually increase the energy over the course of the show, or decrease the energy before everyone leaves. The most important thing is to be aware of your ability to shape the flow of energy and to manipulate it intentionally.

Remember that developing a program or setlist is a creative process, just like composing and performing the music itself. There are numerous configurations and some will seem better or worse according to your purpose. Go with your gut, and remember that nobody else is likely to be analyzing or judging your final decision.