Dos and Don’ts: Order of Songs

By Mike Scalise on Mar 5, 2009 in Dos and Don'ts, Featured

On selected Thursdays, ACB Production Manager Mike Scalise makes his recommendations on a cappella performance in a DO and DON’T format.

DON’T: Start or end your ICCA set with a slow song.

DO: Use a slow song in the middle of two livelier selections.

In competitive a cappella, groups normally sing three songs as part of their sets. It is important that they make the best use of their time, impress the audience and judges, and feel good about their performances. In my opinion, the best way to accomplish this is to begin the set with an upbeat song that encompasses strong vocals and creative choreography. Slower songs can also give groups the opportunity to showcase their talents, but they are best left for the middle piece, as it gives the audience a change of pace, and a chance to catch its breath. The last, and perhaps most important song, is the third one. Leaving the audience and judges the last impression of a dynamic, well-performed song will go a long way during deliberation. Song selection is an important part of competitive a cappella, but don’t forget that the order of the songs can play a crucial role as well.

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3 Comment(s)

  1. I completely agree with you. If a group ever asks me what order to do, I almost always recommend beginning and ending with something upbeat.

    If there is an exception to this order, I would say it comes in the form of a more eye- and ear-catching opening song that may not be upbeat, but draws everyone into the performance instantly. As one example, BYU Noteworthy’s ICCA-winning set in 2007 began with a Bulgarian high-pitched, dissonant song. It was loud, it was shocking, it got people’s attention. From there, they hit an upbeat song, then a slow “message” song, then finished with super high energy.

    As a judge I’ve been wowed by other set flows than the high-low-high method, but for the most part, it’s reliable and manages the audience’s energy in the best possible way.

    Dave Brown | Mar 7, 2009 | Reply

  2. I agree with most of what was said here. Even though my group’s show this year is of the high-low-high contour, I think a slow ending can work when used properly. Two years ago, we used Lullaby by Josh Groban. This worked because we had an incredible soloist and the song was absolutley beautiful.
    This type of thing has to be done carefully and the song has to be done perfectly. Its easy to get an audience standing and screaming after a really fast and high energy ending, but I think it’s far more profound to have an audience in silence after your last piece because they were so wrapped up in its beauty.
    All that said, I do agree that groups will have a much higher probability of success with the high-low-high contour, but the h-h-l can work when done properly.

    Shane Fuhrman | Mar 9, 2009 | Reply

  3. Although this seems to be the cookie-cutter guarantee, it also seems to go against what we learn at SoJam and such. Aren’t we always told to move against the norm, cater to our group, challenge and surprise the audience?

    Song order, then, isn’t about a tempo, but a movement.

    I’d suggest supporting a story, a feeling, a movement that compels the audience and leaves them differently than before the set began. Stories will do that to you.

    Joanna Drivalas | Mar 11, 2009 | Reply

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