When preparing for a service, after receiving vision from your WL, you’ll want to ask yourself two big questions: what songs are we singing this week, and who do I have on my team this week?

Intentionally reviewing the songs in the setlist allows the VD to understand what each song needs vocally, and how you will create that within your vocal team. Songs can vary greatly in what they need, and we want to be strategic in our execution. Some arrangements may be more opened-ended, and allow room for improvisation or flexibility for customization, while others may be far more structured, with specific vocal parts crucial to building the dynamics of the song.

When vocal directing , it is wise to begin assessing who your vocal team is that service- each individuals’ sound, strengths, and areas of opportunity. Be sure to listen to each full vocal part you are assigning, and assign according to the vocal strength and capability as rostered for your service.

It is also wise to consider how crucial a part may be to the song- some harmonies can really make or break a dynamic, whereas other parts may be okay to leave out in lieu of more melody support, if needed. Be sure to not only listen to and review each tutorial, but to assign intentionally and thoughtfully. If a song does not have a specific tutorial, or has a tutorial with multiple vocal parts, be sure to communicate your expectations clearly to your vocalists.

There can be a lot of nuance and room for creative expression in how you assign parts- for example, a strong, belty voice can likely hold down an alto harmony by itself, while having two softer, breathier vocalists on the same part may be necessary. Considering an individuals’ vocal range is also important in making a strong vocal arrangement- who will thrive in a soprano part, vs. a tenor or melody?

Furthermore, as we have multiple options regarding keys for our songs, consider the key the song is in for your set. Consider this: if the song has been shifted up several keys from the original, the harmonies will have shifted as well. In this example, it can be worth asking if the soprano part is still pleasing to the ear, and if it is even still realistic for most vocalists to sing.

The examples of variety in assigning parts are endless, so when deciding, keep in mind the following principles: