Guidng principles for set composition ?

So, I am looking for your collective wisdom of a list of guiding principles to use in constructing an entertaining set.

I will start by saying that I have a repertoire of about 20 songs that I can do start to finish by memory including knowing the lyrics. My public playing is limited to friends and family at gatherings or the local senior centre or continuing care facility. I play a Collings low G tenor nicely enhanced by the effects of a Yamaha THR5A amp, my singing is OK (not terrible) and I have a deep voice.

Without listing the whole thing, my song lists consists of 4 or 5 songs from the Great American Songbook, a couple of folk songs, a couple of movie songs, 2 of my favorite hymns, a couple of lullabye's, an obligatory Kristoferson tune as well as a Dylan tune, a couple of pop tunes and a cover of James Hill's Man with a Love Song.

I suspect off the top of my head that I can assume that ;

-you mix up the tunes with varying tempos as well time time signature

- like many, I gravite to the key of C ( ease) and where my voice will go but I do have some in other keys so..... mix ' em up ?

But what else can you do to make your set more interesting ?

How long should it be ?

When do you hit 'em with your best song , right off the get go or in the first 3 or 4 ?

When is your novelty song appropriate ?

What about the ones where folks may song-along ?

What do you leave them with for your last song ?

I certainly don't know near enough to take requests but at least once of offered to try and learn a song for next time when asked.

I am hopeful this may generate a little discussion.

And not a single Hawaiian tune?
Think of a set as telling a story. Know your audience. It should be interesting, have emotion, drama, crescendos and decrescendos followed by a satisfying climax. Keep your best song for your hana hou.

Well put, Chuck!

OP: You have listed lots of great topics, many close to my heart as a performer and as a former radio DJ. I'll try to restrain myself and address just a few.

Audience makes a huge difference for me. A fickle bar crowd is obviously different than that at a "concert" atmosphere at, say, a senior citizens center. Regardless, I always try to make my first song upbeat, familiar without being hackneyed, something I can play in my sleep, and representative of what is to come. I may write out a set list, but it always changes, based on crowd reaction. I'll leave my "best" song for when I really need it, whether to bring back an audience I may be losing or, more ideally, to wrap up a set and leave 'em with a smile and a song on their lips.

Requests are a chance to personally compliment an audience member on their good musical taste. Even though I may not know the song, or it is inappropriate, I promise to "look into it." If it is a song I'll never learn or intend to play, I'll throw in something self-deprecating and humorous , like, "Wow, I love 'Piano Man', too! But you know I'm a girl with a guitar/uke, right?! If I know a similar song, AND IT FITS the audience and the story Chuck mentions, I'll play that instead.

I have found that most professionals start with very familiar songs -- example how many times have the Oak Ridge Boys played Elvira -- probably thousands --, finish with familiar numbers that the audience expects and puts the new stuff in the middle. For a retirement village set, this could mean starting with something like "You are my sunshine". This guideline, coupled with the others, should make a good set.

There was a similar thread a couple of years back, which I have searched for to no avail. In it, our very own Uncle Elvis gave fantastic advice. Structure your set in four or five song beats or mini-sets. Each beat starts with a familiar, ukey tune, a la Over The Rainbow. Then move into something that works really well on uke but is unexpected, then whatever you like. Song four is a strong closer. Best material. Song five is an encore - so something familiar and awesome, or unexpected and awesome. But definitely awesome. Then put together another set like that. Ideally varying tempo and key signatures within that.

I have used this advice for a couple of years, and it has been fantastic. Especially because I have a regular thing where I play gigs of varying lengths all the time. Sometimes I need 20 minutes, sometimes an hour. 1 five song set usually fills 20 minutes. 3 of them fill an hour. Boom. Thanks, Uncle E!

I was once doing a gig at a bar which was all requests from a list I had provided. I was sort of a human karoake machine. In the middle of Purple Rain (my encore), a very drunk lady came up and screamed in my face "TOO SLOW, PLAY PROUD MARY!" Proud Mary was not on my list, so I politely said, No, I'm afraid I can't play that, but I hope you've enjoyed the set. And then I left.

(Oh, also, for the sing along, I usually put it in at 3 or 4. If it's a longer set, I'll put it in at 3 or 4 of the last beat.)

For your own confidence - start with a song you know backwards and forwards - and that the audience will know too.
Have a set list, but be prepared to deviate the order a bit to suit the occasion.
Save your best song for last, and your second best for an encore
Do at least one romantic song, and dedicate it to the ladies - or the gents depending on the situation.
Don't be afraid to talk to the people out there... connecting with them will get them on your side and all your songs will be well received.

Strumdaddy said:

For your own confidence - start with a song you know backwards and forwards - and that the audience will know too.
Have a set list, but be prepared to deviate the order a bit to suit the occasion.
Save your best song for last, and your second best for an encore
Do at least one romantic song, and dedicate it to the ladies - or the gents depending on the situation.
Don't be afraid to talk to the people out there... connecting with them will get them on your side and all your songs will be well received.

Click to expand...

Wonderful and sound advice.

Sorry, I couldnt re-engage yesterday after starting the thread, life got in the way.

There is some great advice here. I used my ukulele during my election campaign a year and a half ago when I ran for Mayor of my hometown. So talking to the audience isn't a problem for me. During the campaign I would do a couple of songs, then we'd chat about the issues that were important to them until someone would say play another song. Music really draws people in as we all know so it was a very effective technique.

I have worked very hard on my song list and can honestly say with confidence that I know them all backwards and forwards and I have done a lot of public speaking and presenting so I do not lack confidence. As well I am reasonably skilled at self-depricating humour should I ever stumble.

What got me thinking about this was yesterday morning when I was playing and singing with my early moring coffee under the orange glow of my new little Yamaha amp and when I finished a song it just rolled into the next one and I thought " that transition is perfect " so I started looking at the song list and grouping and organizing them.

I did have the tendency to use my best song earlier than what is being advised here so that's a change I'll consider. I really like the thought 3 smaller sets. That makes for many options.

As well the start with someting very familar is great advice, while many of my songs are ones that I know well. I am sometimes surprised when others aren't familiar with them.

I always have a romantic song or two, isn't that why most of us sing to begin with ? It's why birds and moose do ?

Chuck, I do not have a Hawaiian song you're correct. I have never been so lucky as to have been there and it's a long way from northern Canada. Does anyone have a suggestion of two or three for me to try and learn please ?

Now I have to determine which song is most suited for my " hana hou " . I don't know about the rest of you but for me my best song is often the newest one I've learned, I'd be interested to see if others feel the same.

Ralph

As for requests, we learned this from a very experienced performer. To head them off at the pass (and remember we are a 60s and 70s songs duo), we usually say something like, "We love to play your requests. If you would like to hear something from James Taylor, or the Beatles or America (....) let us know." That way it frames the requests as artists vs specific songs. If someone still comes up and says, hey can you play "Come Together". And we'll say, okay that's a Beatles song, how about "Here Comes The Sun." (or whatever) That usually works

However, no matter what we say, people will always ask for weird stuff. Picture my wife and I playing a guitar and a bass (or a uke and a bass), and someone will always ask for Beyonce, or whatever. To that we just usually say that we are a 60s and 70s band and go back to the request approach above.

As for set lists, we start with the same 4 or 5 songs every gig. It helps us get going and keep our confidence up. Then we vary our songs after that. Except, we always end our first set with "Need You Now", our second set with "Sweet Caroline", and our gigs with "Eight Days A Week". Those songs are well known and the last two are audience participation songs. It always leaves them singing and wanting more, which is how we think you want to leave them. That way they leave happy and come back when you play again.

Leave 'em singing and wanting more.......excellent advise. Admittedly Come Together is a difficult translation to ukulele unless you have the ubass but it sure is a great song. I listened to it in my vehicle the other day at high volume and I was definitely in the groove.

What I like to do is... oh... Yeah.

What Matty said.

As for requests, I love 'em. They are a great source of patter and opportunities for ad libbing (and, thus, more written material, as you can add the nonsense you babbled the night before to your arsenal).
I have over 1000 songs (Chords and Lyrics) on my iPad. Not all of them have I gone over. If someone asks for a song, and I have it, I'll give it a shot. I've booked gigs... and VERY nicely paying ones!... because I was willing to say "Hey, if you don't mind if it sucks, then I'll play it!" and giving it a try. I once had the WORST chords to "You're Just To Good To Be True" by Frankie Valli and faked my way through it. "OMG! You have to learn that one and play it at our wedding!" $500 later, I'm a happy man and very pleased that I learned how to fake it!
If I don't, and they're cool, I usually abuse them mercilessly about their crappy taste in music! If they're not cool, especially when they're drunk, then I smile sadly and say "Sorry, love. I don't know that one."

And then look at the folks that are cool with me and make a face!

Another completely ridiculous thing I sometimes do is, when someone requests a song by a specific artist, I'll either say "Here's a song that Kenny Rogers... has probably heard before..." or just announce "This song was written by Paul Anka..." (I usually get Paul Anka or Neil Sedaka, for some reason.) for every song for the next three or four songs (and make sure that they're not even remotely like the artist!). It lets you call back to it later in the night with a joke that the audience gets.

Another tip I realized was important last night while watching a buddy play is:
Figure out how to entertain yourself. If they're not paying attention or are a little less than receptive, lay back a little and have some fun... keeping in mind that there's an audience watching.
Last night at my gig at a bar - it was cold out, so there weren't many people out - the audience were younger, hipper and... well, NOT a ukulele crowd. So I played Sia and Robyn and Snoop Dogg and Biz Markie and Tracey Chapman. They weren't paying attention, so I just had fun. When I started "Stay With Me" by Sam Smith (in Em, of course! I can't sing like him!), they looked over and saw I was having fun and I got 'em. Tonight is in a little classier place, so I'll get to do the older stuff I like... but I'm gonna have a good time while doing it.
After, I went to see my buddy, who is just starting out, play. He was really good, but the audience wasn't there for him and I realized it's because he wasn't having fun. More importantly, he wasn't inviting them to have fun. He was just cranking through a setlist, which is fine, don't get me wrong, but he wasn't paying attention to them and he wasn't enjoying it. It's a problem we all have starting out. If the crowd isn't feeling us, we start to think we're failures. To that I say: Bugger it! Life is too short! Have as much fun as possible and eventually, others will join you!

Ok. Enough babble.

Excellent stuff Uncle Elvis, I enjoy some banter and love the Paul Anka probably heard this one bit. Perhaps off topic what do you recommend for staying in the moment ?
When I am playing at home there are times when I am really into it and if I commit to the song my singing improves significantly there are of course other times when I am not at my best for a variety of reasons but most troubling to me is losing concentration partway through a song, any advise ?

Do you think it's nerves that are throwing you off?
For me, I get up every time and, either consciously or unconsciously, say "Time to do the job."
And I look at it like that. I look at performing as my job - one I'm overjoyed to do, granted, but I take it as seriously as a job - every time. Even when it's a "Hey, come do a song!" at someone else's gig, or when I'm messing around at an open mic.
I think they key is exactly what you said: Staying in the moment.
By that I mean if you DO get distracted and lose concentration, don't dwell on it. Just get right back in where you are. Don't go over and over it, stay where you are, in your head. Sing the words you're supposed to sing when you're singing. Don't go back, don't freak out. A drummer friend used to tell me "Just go back to one." The first beat of the next bar. And go from there.
I realized something a while back. Practice and rehearsal are the times that you worry about getting it right. Not saying to obsess about perfection, but, when you're rehearsing and practicing, THAT is when you stop and start and go over things and tweak it and get it sounding how you want it to. Performance isn't about perfection or getting it right. Performance is about enjoying it and getting through start to finish.
I found that keeping them separate in my head really helped me with both. I stopped worrying about screw-ups when I was performing, but also started taking them more seriously when rehearsing the song.
Also, find that place where you DO get really into it and figure out how to get there. When you do, every song will be in that place, even the ones you have to concentrate on!
And remember, if you love doing this, when you're doing it, you're at your best! Even when you're not!

Mxyzptik said:

When do you hit 'em with your best song , right off the get go or in the first 3 or 4 ?

Click to expand...

You should always open and finish with your best songs. Open with one because that's the only chance you have of making a first impression. And close with one because that's the only number most people will remember after they leave.

UncleElvis said:

Do you think it's nerves that are throwing you off?
For me, I get up every time and, either consciously or unconsciously, say "Time to do the job."
And I look at it like that. I look at performing as my job - one I'm overjoyed to do, granted, but I take it as seriously as a job - every time. Even when it's a "Hey, come do a song!" at someone else's gig, or when I'm messing around at an open mic.
I think they key is exactly what you said: Staying in the moment.
By that I mean if you DO get distracted and lose concentration, don't dwell on it. Just get right back in where you are. Don't go over and over it, stay where you are, in your head. Sing the words you're supposed to sing when you're singing. Don't go back, don't freak out. A drummer friend used to tell me "Just go back to one." The first beat of the next bar. And go from there.
I realized something a while back. Practice and rehearsal are the times that you worry about getting it right. Not saying to obsess about perfection, but, when you're rehearsing and practicing, THAT is when you stop and start and go over things and tweak it and get it sounding how you want it to. Performance isn't about perfection or getting it right. Performance is about enjoying it and getting through start to finish.
I found that keeping them separate in my head really helped me with both. I stopped worrying about screw-ups when I was performing, but also started taking them more seriously when rehearsing the song.
Also, find that place where you DO get really into it and figure out how to get there. When you do, every song will be in that place, even the ones you have to concentrate on!
And remember, if you love doing this, when you're doing it, you're at your best! Even when you're not!

Click to expand...

No, it's not nerves. I don't suffer much from nerves. From my work I have had to speak and present and stand in front of the angry mob doing public consultation for regulatory applications on large projects. For those instances I was never rehearsed and did almost exclusively off the cuff ( not the industry norm for sure) . It provided me with the ability to be seen as honest and sincere which is something that big bad industry doesn't often get. I accomplished this by doing exactly what you have said and that's knowing my material very very well.

What I experience in music is different and maybe I didn't describe it accurately enough. Maybe more akin to day dreaming than anything. Sometimes I am good at what they often tell contestants on American Idol about connecting with the song, feeling it and emoting that to your audience. Other times the heart just simply isn't there or I get distracted , " hey look it them birds over there . " "what the hell was doing , oh yeah ' sort of any experience. So sometimes it's lack of committment which then leads to allowing yourself to get distracted. Is that something shiny over there ?

I am not praticularly flummoxed by a flub and do employ the start at one technique as well . It seems to be more just committing your whole self to the song.

Maybe meditation would help me ?

Mxyzptik said:

No, it's not nerves. I don't suffer much from nerves. From my work I have had to speak and present and stand in front of the angry mob doing public consultation for regulatory applications on large projects. For those instances I was never rehearsed and did almost exclusively off the cuff ( not the industry norm for sure) . It provided me with the ability to be seen as honest and sincere which is something that big bad industry doesn't often get. I accomplished this by doing exactly what you have said and that's knowing my material very very well.

What I experience in music is different and maybe I didn't describe it accurately enough. Maybe more akin to day dreaming than anything. Sometimes I am good at what they often tell contestants on American Idol about connecting with the song, feeling it and emoting that to your audience. Other times the heart just simply isn't there or I get distracted , " hey look it them birds over there . " "what the hell was doing , oh yeah ' sort of any experience. So sometimes it's lack of committment which then leads to allowing yourself to get distracted. Is that something shiny over there ?

I am not praticularly flummoxed by a flub and do employ the start at one technique as well . It seems to be more just committing your whole self to the song.

Maybe meditation would help me ?

Click to expand...

Oh! I get it.
Yeah, I run into that, too. I guess the best bet would be to learn the song as best you can, in and out, so, when you do drift off, you can get it back.
Or, just learn songs that you can commit to! *grin*

UncleElvis said:

Oh! I get it.
Yeah, I run into that, too. I guess the best bet would be to learn the song as best you can, in and out, so, when you do drift off, you can get it back.
Or, just learn songs that you can commit to! *grin*

Click to expand...

I think the later , haha. It's all fun at least if you don't take yourself to serious it is. Happy ukeing, thanks for all the great advise. Its one of the greatest things about this forum.

I've been performing for years, and good set composition is still a mystery. I come with a "play list" NOT a "set list" as I don't want to be locked into anything. I ALWAYS start with a well known song, that I play solidly, and follow it up with another. If it's a singer-songwriter type gig, I'll start with one that I feel is one of my best originals to grab them. Then, my mood and the crowd's reaction takes over. I try to follow up slower sleepy songs with something more up tempo, and end with one that I hope has them wanting more ... and yes, I save a good one to encore with (if they don't seem like they want more, that one gets held till next time ) Pretty rare though if you're entertaining that they're not wanting you to play JUST ONE MORE!!!!!

And, remind yourself that sometimes you're there as "background" music, and the crowd is not required to cheer and go nuts every time you strum your final chord.