Does Song Choice Matter?

I remember when I was a music major in college and I didn’t understand WHY I wasn’t “allowed” to sing certain repertoire/songs/arias from the opera repertoire. Coming from a piano and folk singer/songwriter background, I had no idea what “voice type” meant other than what I knew from choir (Soprano, Alto, Tenor, Bass) and a bit of musical theater. So, learning about the specifics of what opera singers call the FACH system for categorizing voices was all new to me. I was upset when I wasn’t permitted to sing certain arias that I thought were beautiful and inspired me! I mean, why not?! The notes are in my range!

FACH (go ahead and google it!)

Naturally, I have come to learn why certain repertoire is deemed “inappropriate” vs. “appropriate” and it all comes down to voice type. Essentially, within the Soprano, Alto, Tenor and Bass range of voices, you have even narrower categories (higher or lower ranges within that range of notes). And then, within those categories, you have even more labels based on the SIZE (volume) and COLOR (tonal quality) of your voice. And, even beyond that, we could say you have categories based on how a voice moves, its agility. 

Repertoire/song choice, is important for many genres because a singer shouldn’t choose a song/aria/role that is not the right category of their voice type AS IT IS TODAY. (NOT where you wish it was or hope it will grow into someday!!!)  If singers are encouraged to sing repertoire that is not in their voice type/fach, then they could end up causing damage to their technique and the progression of the growth of their technique and instrument. We see/hear this happen all the time, it ruins voices and careers. Teachers, stop doing it! Stop assigning repertoire that you think they will “grow into.”

RANGE

Another important thing to consider involving all genres of music is the range of your voice versus the range of the song. It is wise to choose songs that have 80% of the notes in the middle of your range, with only 20% of the notes in your lowest notes or highest notes. In other words, it is not healthy to sing the majority of the time on the extreme ends of your range. Especially the high end. 

MUSICIANSHIP LEVEL

Finally, make sure music matches musicianship level. This seems like a given, but so many students want or have teachers assign music that is either too easy or too difficult for them. One must judge the song based on the singer’s range, voice type, and then also their musicianship level. Will they be able to hear AND read those 16th note ties over the measure that are syncopated? (Which, by the way, is in a lot of pop and contemporary musical theater!) Will you be doing a student any favors by beating rhythms over their head that they can’t understand or interpret correctly? What are they learning from that experience? Will they, in fact, gain confidence from that experience?

A good song choice isn’t too easy (ie: singer gets bored and uninterested), but its also not too challenging (singer gets frustrated and loses confidence or motivation). It should be appropriate for what their technique can accomplish and what their technique is on the brink of accomplishing, NOT what it should do as a master of voice! 

Overall, we must remember the journey of the musician, where the voice is in the progression and development, and choose music that encourages and cultivates good technique along with building confidence. 

Happy, healthy singing!

Tara