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If you've got to this stage in the process and decided to go ahead with a recording project, it's time to think about the repertoire or programme content for your CD.
What makes a good CD programme? Is it all right to simply record your current performing repertoire - or should you devise a programme specifically for the CD?
There are several important factors in album programming. Firstly, you'll need to know the timings of your intended items and the expected total running time for your album. As a guide you'll probably want to aim for around 60 to 65 minutes. Much less than 50 minutes and there's a danger listeners may feel short-changed.
The maximum running time for a CD is now over 79 minutes but some older CD players may only read CDs which last up to 74 minutes (the original maximum length of the format). It's also quite a challenge to maintain the highest standards through 80 minutes of material - and very few listeners will enjoy hearing that amount of music in one sitting!
As you'll see later, the styles, moods and keys of the items you include can have a big effect on the overall success of the product. A diverse programme will keep your listeners' interest but it might be harder to find a comfortable, flowing running order.
Your choice of repertoire might be influenced by whether the items have been widely recorded before. An original work which is unique to you could have novelty value while, on the other hand, well-known pieces may have broader appeal. Other factors which might influence your choices include copyright issues, instrumentation and the availability of information for programme notes.
As we've already mentioned, having a strong theme or concept for your album can be a big advantage. If you've found a theme, it makes sense to ensure as much of the programme as possible reflects that theme. It's often possible to get away with one or two items which aren't obviously linked with the concept - but you'll need to be careful that the impact of the theme isn't diluted by including too many unrelated items.
Choosing new repertoire specifically for the CD allows you to implement your concept strongly and can make for a stronger programme. However it could mean a lot of extra work in preparation and rehearsal - especially if the new works can't easily be fitted into your regular performances.
Another approach is to devise a CD programme from the band's existing repertoire. You can choose items which are already well-known and rehearsed, meaning you won't need to arrange so many extra rehearsals. You may even find that the recording sessions are more straightforward and relaxed because everyone's very familiar with the repertoire. These factors can have a significant impact on the quality of the finished CD.
Your existing supporters - such as family and friends - will want a recording which includes their favourites from your concerts; the best way to generate immediate sales is to feature the items which have been best received by your concert audiences - while to exclude those items could deter them from buying your CD.
As you've seen, there are pros and cons in both of these approaches. The best solution for you may well be a combination of approaches. An ideal situation would mean you choose the possible repertoire for your recording several months or even a couple of years in advance, so that the CD repertoire becomes a significant part of your performing repertoire.
In this way you can introduce your audiences to the CD in advance and even use concerts to "test" which items will be especially popular. At the sessions you'll have all the advantages of tried, tested and rehearsed repertoire and the finished CD will have a strong, cohesive programme giving it a broader appeal and commercial viability.
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