OVERVIEW
On-stage speaking comprises many types of speaking from the stage that occur during a performance, everything from a brief welcome to an interactive performance or lecture-recital. Special focus is given here to introductory remarks, which are given by a musician (or other speaker) before the performance of a piece of music. Introductory remarks increase the audience’s engagement with the music that follows and strengthen their connection with those who perform it.

LENGTH
2–5 minutes. Literature on this topic does not specify an ideal length for introductory remarks, but in practice, the most compelling examples fall within this range. Remarks lasting less than 2 minutes are generally too brief to provide substantive benefit. Remarks lasting longer than 5 minutes risk disrupting the flow of the event or diminishing the interest of the audience or both.

FORMAT
Introductory remarks take on a variety of formats. At the very least, the title of the piece and its composer (and other essential contributors) should be named. Any and all other performers should be acknowledged, too, typically early in the performance.

Ultimately, there are many ways to achieve the desired objective, which is on-stage speaking that blends the energy of spontaneous remarks with the impact of logical organization and compelling expression. This ”loosely scripted” effect is described in greater detail below.

TONE
Audiences digest all on-stage speaking aurally and in real time, usually without an opportunity to hear it again. For this reason, prioritize clear expression of uncomplicated content. Avoid complex sentence structures, drawn-out introductory clauses, and long lists. Jargon and excessively poetic language are both undesirable. Content designed to inform and engage an educated, non-specialist audience is generally more effective than content designed to impress.

On content, set goals for your introductory remarks – “What should the audience know or hear or focus their attention on in the performance?” – and determine content to include (or exclude) based on those specific objectives. In most cases, on-stage speaking should entertain and edify your audience, in that order.

Consider using on-stage speaking to provide insight an audience is unlikely to obtain elsewhere. For example,

• Guided listening. Recommendations on what to listen for and key moments in the music are useful, especially for non-specialist audiences. Musical examples, either played or recorded, can be particularly valuable.
• Personal insights. Details about your interest in and experience with the work will be appreciated in many cases.
• Storytelling. Details about the composer or the context of composition often work well when they’re set as brief, colorful stories.
Avoid dates and facts available in online encyclopedias or program notes.
Avoid music analysis, “play by play” accounts of musical events, and “how to play” explanations better suited for private studio lessons.

Additionally, as Michael J. Puri puts it, “highlight a few key moments in such a way that, when the audience encounter[s] them in the subsequent performance of the entire piece, they feel a sense of recognition, orientation, and even understanding.

To echo what Puri says at the outset – i.e., “a few key moments” – it’s generally better to discuss fewer elements in greater detail. Audiences can always apply to other passages the lessons they’ve learned from your discussion of a single passage. In short, depth is usually preferable to breadth.

On presentation, deliver any on-stage speech with attentiveness to clarity, energy, and pace. Articulate clearly without mumbling. Inflect your speech with spirit and charisma, avoiding monotone as well as exaggerated animation. Speak at a measured pace, using faster and slower speeds for special effect.

On physical motion, be conscious and deliberate about movement and gestures. Consider moving between 2–3 spots on the stage, without pacing. Use gestures for emphasis, without fidgeting. Standing behind a podium, or even a music stand, will increase the formality of your speech, so use (or avoid) these props as desired.

STEP 1. Use material from above to determine the length, format, and tone of your remarks.

STEP 2. Use material from above to determine the content you’ll include in your remarks.

STEP 3a. Write a script using guidelines from STEP 1 and content from STEP 2.

• To achieve the “loosely scripted” effect mentioned above, avoid unscripted remarks. Spontaneous or unrehearsed speeches rarely resonate with audiences as fully as deliberate and premeditated ones. Further, speakers often over-estimate their ability to speak without forethought or advance planning.

STEP 3b. Memorize the script.

• To achieve the “loosely scripted” effect mentioned above, you will need complete command of the main points, specific details, and their arrangement. You won’t need to memorize the script word for word, but any uncertainty about what to say or what to say next will weaken the speech. As David Wallace notes in Engaging the Concert Audience, “the audience holds us to presentational standards that are equally high [as our playing standards.]”

STEP 3c. Film yourself delivering your remarks.

STEP 4. After a short break – at least 2 days, if possible – review your video recording, revise your script, and modify your delivery using guidance in the “Tips and Strategies” section below.

STEP 5. Practice your speech for trusted mentors and colleagues. Ask, “How can I improve this?” Review their feedback and revise if necessary.

Open and close with intention and by heart. Your opportunities for maximum impact are at the start and finish of your remarks. To ensure these moments go exactly as you intend, write a word-for-word script for each section and commit it to memory. For optimal effect in performance, deliver these sections without referring to notes or breaking eye contact with your audience.

Musical examples, visual aids. Musical examples (either performed or recorded) and visual aids complement speaking. These can be an effective addition to your speech. They must be integrated seamlessly, though, because their impact is destroyed by awkward transitions or lengthy pauses for set up.

Be detailed, not rigid. Introductory remarks enhance your audience’s experience with your performance. Equip them most fully for that experience by providing a thorough and detailed explanation of anything that will enrich their encounter with the music in performance. Avoid insisting on a specific interpretation or way of listening, however. Use introductory remarks to guide, rather than brainwash, your listener.

Simplify the script. Because I emphasize scripting (see above), your on-stage speeches may end up too formal or too complex or both. Ditching the script isn’t the solution. Instead, aim for shorter and simpler expression. Avoid extended lists, long introductory sections, advanced grammatical constructions using things like adverbial and non-restrictive clauses, and sentences that challenge your audience in the way this sentence does. Keep it simple. Be direct.

Use the mic. Amplification is a tool, not a crutch. Unless you’re in a small room speaking to fewer than, say, a dozen people, a microphone is a necessity. It will ensure everyone hears and understands every word, regardless of where they’re located, the integrity of their hearing, or the volume of your natural speaking voice.

Below are introductory remarks from actual performances.

St. Lawrence String Quartet

Angel Blue

Jeremy Denk

View on YouTube