Choosing Repertoire for Your Choir: A Guide for Conductors

Selecting the right repertoire is one of the most important decisions a choral conductor makes. The music you choose shapes your choir’s identity, determines how quickly your singers develop, and ultimately decides whether your audience leaves a concert feeling moved or indifferent. Getting it right requires balancing artistic ambition with practical reality.

Know Your Choir

The starting point for any repertoire decision is an honest assessment of your choir’s current abilities. Consider the size and balance of your voice parts, the overall reading ability of your singers, the vocal range and strength of each section, and the amount of rehearsal time available before performance. There is no shame in choosing music that sits comfortably within your choir’s capabilities. A well-prepared performance of an accessible piece will always be more satisfying than a scrappy attempt at something beyond reach. That said, every programme should include at least one piece that stretches your singers – growth comes from working at the edge of ability, not from staying in the comfort zone.

Building a Balanced Programme

A good concert programme is like a well-planned meal – it needs variety, contrast, and a sense of progression. Think about contrasts in tempo, key, texture, language, and mood. Avoid programming several slow, quiet pieces in succession, no matter how beautiful each one is individually. Your audience needs dynamic contrast to stay engaged.

Consider the overall arc of the concert. Many conductors structure programmes to build toward a climactic piece in the second half, but there are other approaches. A themed programme might follow a chronological journey through a period of music history. A seasonal concert might alternate between reflective and celebratory pieces. Whatever structure you choose, make sure it has a clear sense of direction.

Exploring Different Periods and Styles

One of the joys of choral music is its extraordinary breadth. From Renaissance polyphony to contemporary commissions, from folk song arrangements to large-scale oratorio, there is a vast library of music to draw from. Exposing your choir to different styles and periods develops their musicianship and keeps rehearsals fresh and stimulating.

With The Phoenix Consort, I have always aimed to programme a mix of early music, Romantic repertoire, and modern works. This variety keeps singers engaged and helps audiences discover music they might not otherwise encounter. Do not be afraid to include lesser-known works alongside established favourites – audiences appreciate being introduced to hidden gems.

Practical Considerations

Beyond the artistic decisions, there are practical factors that can make or break your repertoire choices. Music costs money, so factor your budget into your planning. Some publishers offer generous licensing for smaller choirs, while others charge per copy. Consider whether your choir has access to an accompanist or whether you need to programme mostly a cappella works. Think about the venue too – a large Romantic anthem that works brilliantly in a cathedral may sound overwhelming in a village hall.

Copyright and licensing are important considerations. For works still in copyright, you will need to purchase sufficient copies or obtain a licence. The Making Music organisation provides helpful guidance on music licensing for amateur groups.

Repertoire for New Choirs

If you are starting a new choir, repertoire selection is especially crucial in the early weeks and months. Your first pieces need to be achievable enough to build confidence, musically rewarding enough to keep singers coming back, and interesting enough to attract new members. Start with unison or two-part music if your singers are inexperienced, and gradually introduce more complex textures as their skills develop.

Rounds and canons are excellent starting points for new choirs. They introduce the concept of singing in parts without the complexity of independent voice lines. From there, you can progress to simple homophonic settings before tackling polyphonic repertoire.

Involving Your Singers

While the conductor usually has the final say on repertoire, involving your singers in the selection process can boost engagement and ownership. Consider running an occasional “singers’ choice” rehearsal where members suggest pieces, or create a repertoire committee that helps research and recommend new music. Singers who feel invested in the repertoire are more motivated to learn it well.

Pay attention to which pieces your choir responds to most enthusiastically in rehearsal. Their energy and engagement will tell you a great deal about what works and what does not. The best conductors balance their own artistic vision with a genuine responsiveness to what their singers enjoy.

Planning Ahead

Good repertoire planning happens well in advance. Many experienced conductors plan at least a year ahead, ordering music early to allow time for personal study and score preparation. Keep a running list of pieces you want to programme and add to it whenever you hear something interesting at a concert, on a recording, or through a recommendation. Having a bank of repertoire ideas means you are never scrambling for music at short notice.

If you are preparing for a concert, make sure your rehearsal plan aligns with your repertoire choices. More complex pieces need proportionally more rehearsal time, so factor this into your scheduling from the outset.

Useful Resources

• Association of British Choral Directors (ABCD) – Repertoire recommendations and conductor resources
• Making Music – Music licensing guidance and support for amateur groups
• CPDL (Choral Public Domain Library) – Free sheet music for out-of-copyright choral works
• How to Start a Choir – Includes guidance on early repertoire choices

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