14. Repertoire⁴⁶

Repertoire in singing may be defined as a list of songs or roles in any or all classifications of song literature, which a singer has rehearsed and is prepared to perform in public. Songs or roles not memorized should not be considered as part of one's repertoire, unless an exception is made in the case of radio singing where the use of the music is usually permitted.

Classifications — For working purposes, song literature may be clas­sified as follows:

1. Folk Songs
2. English ballads
3. German Lieder
4. Art songs
5. All foreign songs, particularly French and Italian
6. Sacred songs, to include oratorio solos
7. Cantata, opera and light opera arias
8. Musical comedy selections
9. Humorous and character songs
10. Semi-popular songs
11. Popular songs

The classification of roles includes in addition to the arias all the incidental or recitative singing in operas, oratorios and cantatas, in fact, any solo singing in concert or in stage presentation where there is characterization.

In the selection and building of a repertoire, the first consideration is what fits the type of voice. Other considerations are the taste; that is, what the singer enjoys singing, and the personality and dramatic talents of the singer. It is generally accepted that dramatic song literature is not good vocal fare for the young singer, nor are songs of too wide a range.

Folk songs and ballads help the singer find his "singing legs." Florid songs are helpful in developing agility and flexibility; in fact, they may be considered as good vocalizers. A large part of sacred and oratorio song literature is reasonably easy. Perhaps this is the answer to why so many good singers have started as choir singers.

Once the singer has his technique well under way, he should select a number of songs with dramatic content. This opens the door to German lieder, art songs, and opera arias. The study of the heavier type of song calls for some emotional coloring of the tonal lines, and is the natural pro­gression for a voice developed on lyrical singing. Along with songs of feel­ing and wider range can be added the character and humorous types of songs.

There is also the question of language. Italian is the ideal for the be­ginner or lyric voice. English can be sung as easily and as beautifully, except in the higher range where Italian is more suitable since the Italian composer knows what sounds can be sung more easily. Between a choice of German and French, with their additional vowel sounds not common to Italian and English, German is more easily sung, if the consonants are not artic­ulated too strongly. French with its many nasalized and lip vowels may be too confusing from a vocal standpoint until the tonal quality line is establish­ed.

Hit songs - In the building of a repertoire the singer should always be on the alert for the songs that are sure-fire, or in other words, songs that "stop the show." These songs may not always bring down the house, since their success is usually dependent on their use on the right occasion.

Selection of program - In song material for actual appearance the per­former must be careful to choose songs that he will enjoy singing and the audience will enjoy hearing. Also the type of audience, the time and place of the performance, the time allotted to the singer, the sharing of the pro­gram with others - all must be considered. Taking everything in considera­tion, the song material should fit the occasion.

New material - There is always the great problem of where to find new material. A number of music publishers, for advertising purposes, supply the teaching and singing profession with complimentary copies of new songs. Musical magazines also print many song programs which will keep the singer or teacher in touch with what is being sung. Usually songs can be had on approval from many of the publishers.

Expense - The expense entailed in building a library of song literature is great, and wherever possible it is good economy to purchase a volume of songs in preferance to a single copy. To give insurance of long life to both single copies and volumes, it is advisable to have all music bound or hinged. The cost of hinging is small and worth the additional cost. A book plate or rubber stamp with the owner's name and address will prove helpful in iden­tifying valuable property.

Notebook* - Most singers use a small pocket-size book, which contains words, or words and music of the songs which are in preparation, or are to be sung. Music lined or blank paper can be purchased to fit these small books. This may eliminate the cost of buying more than one copy, or carry­ing a copy to study. They also afford a ready reference in actual perform­ance. The cost of the books is nominal depending on whether leather or paper is used for the cover.   The note paper is comparatively inexpensive.

List of songs for all voices are easily procured from the music pub­lishers. Generally speaking, certain arias or songs are definitely for only one type of voice and should not be sung by another. A woman should not sing a man's song or vice versa. A contralto should not sing soprano arias or vice versa.

*   Lefax Notebook Co. , Philadelphia, Pa.

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