Most participants in high school solo competitions are only in the performance room long enough for his/her performance and maybe for a couple friends’. They could learn so much by sitting and listening/observing for a while.
During some down time in between local student performances at a state level contest, I sat in a few performance rooms just to hear examples of what other students around the state are doing. I did not expect to see the wide range of performance quality given that I was at a STATE level contest and everyone participating had already received a GOLD (top) rating at district competition. If I had to summarize that experience, it would be with the conclusion that…
…not all music education results are created equal.
Sometimes I sit in the clarinet room during the upper level solos at Solo and Ensemble festival. There is a painful pattern of poor choices in music selection and interpretation, including the selection and performances of Sonata and Concerto pieces.
Choosing a Sonata vs Concerto for the wrong reason(s)
A brief music theory overview.
A Concerto is generally written for a Concert Hall …. for a Concert …. featuring a soloist with an orchestral accompaniment. It is normally 3 movements long; a bombastic first movement, a beautiful and contrastingly slow second movement and a flourishing climatic final movement.
Ensemble parts are usually boring, because the soloist is the feature. Only during the brief “Tutti” sections does the ensemble get to play much more than light, soft accompaniment. The Concerto is designed to “show off” the masterful soloist and it normally takes the instrument to the limits in tempo, technique and range. Mozart wrote his Clarinet Concerto for a friend considered to be a prodigy.
For a concerto performance with just a piano accompanist, as what is always the case for solo festival, the pianist is playing a simplified transcription of the orchestra score. In most cases, other than the potential of some 16th note runs in the piano part during the “tutti” sections (which can be edited or left out without drastically changing the piece), the piano parts are relatively simple, or can usually be simplified without changing the intent of the piece.
Historically, a Sonata was written as a chamber hall piece, written for a solo instrument and solo accompanist, often to be performed in a smaller setting than a large concert hall. I won’t get into the form of each of the normally 4 movements, but a sonata is more a “duet” where both instruments are of equal importance. The Sonata is usually less of a flashy piece, rather demonstrating what the two instruments can do together, often involving subjective interpretations of tempo and dynamics.
The Problems
….in picking the Concerto, the most common disappointment is when the student performs the piece at a ridiculously slow tempo. I’ve heard a Rondo (generally a 3rd movement 6/8 time performed in a 2 beats per measure pulse) played IN SIX. Or… the flashy first movement at half the intended tempo. I’m all about telling students they can be slightly under the published tempo to help with accuracy, but drastically changing the tempo also completely changes the piece, in my opinion. If you can’t play it the way it was written or intended, choose something else. Of course, the other option is to commit the practice to get it to performance grade, because the only sound worse than the super slow tempo is the sloppy technique of an ill prepared piece, evidencing a problem to be addressed in a separate post perhaps…..HOW to practice.
When it comes to the Sonata, I can almost envision the selection. The student is pointed to the band library solo/ensemble music drawer and begins looking through the solo options. Scared of the heavier use of black ink on the concerto, the student pulls out a sonata because it looks easier.
Yeah, eighths instead of sixteenths, hardly any ‘runs’. This piece is for ME.
The pianist, who often only gets 1-2 times to practice with the student, and who is probably also accompanying 10 other soloists, has had neither the time to adequately prepare the tougher piano part, nor the understanding of how the two go together……hence the painful disaster at contest as a result of poor interpretation.
Solutions / Recommendations
Pick a piece to highlight the soloist’s strength.
If your strength is technical proficiency (you can play fast, i.e. runs and arpeggios), the 1st or 3rd movement of a concerto can be a good choice. If a beautiful tone and vibrato are what you do well, then perhaps the 2nd movement of a concerto or some other solo form; such as an ‘air’ or a sound portrait type piece, might be a better choice. If you are good at playing with a wide range of emotion AND have access and rehearsal time to a good accompanist AND time to spend with a music coach who understands the particular piece selected, THEN….a sonata can be a strong choice.
Some of the lowest scores at contest are sometimes given to a decent musician who butchered a sonata, not due to poor musicianship, but to poor interpretation and understanding.
Get some expert coaching and/or listen to professional examples of that piece performed.
If you are studying privately, you should have the expert coaching you need. Your band director can often be a good source. As a director, however, I made an error a few years ago when I interpreted an Adagio tempo for a soloist. Mine was a good metronome interpretation, but not knowing that particular piece, I didn’t realize that the traditional method of performing that solo was to interpret the Adagio at the eighth note pulse and not the quarter note. The first time I heard a judge critique, I blamed the judge. The next time, when it was a different judge saying the same thing, I concluded I was mechanically, but not musically correct.
Sometimes it is difficult to find expert coaching in a geographic area for some specific instruments. Band Directors are usually expert in at least one instrument and may be proficient on multiple, but are not expert at all. The director can help with basics of notes, rhythms, dynamics, articulations, performance pedagogy, etc. But for interpretation, in the absence of a local coach, consider additional options:
1. Internet research. You should be able to find critique or comments on a variety of solo pieces, often as part of either a contribution from a college professor expert or from research data published in intellectual papers.
2. YouTube and other video presentations. CAUTION: Anybody can post videos and some are hideous. Better sources might include college senior music major recitals. Or look for multiple presentations of a particular piece and give extra consideration to the one with the higher number of views…..or to those that represent the pattern rather than the exception from your list of options.
3. Forums or discussion groups. Search to see if others are asking similar questions or having discussions about a particular piece. Often there will be at least one “expert” contributor.
4. Find a Skype coach. Colleges are using Skype to interview applicants. So are employers. When distance is an issue, it is an acceptable alternative. Music lessons or coaching via Skype are not common but are becoming more acceptable and available.
There was a fun “Prize Program” that went with our Candle Sale for the band. Yes, it was one of MY (Priority Fund Raising) sales. Here was the prize description at the bottom of the letter (highlight added).
AT THE ICE CREAM PARTY
CA$H BA$H
Tape the Directors to the Wall (BYODT)
Ice Cream – All You Can Eat
Variety of Door Prizes
Pig Races (Names drawn)
FUN…FUN…FUN
ICE CREAM PARTY for ALL who sell $100+
The Ice Cream Party was for all who sold over $100. There were about 50 people who qualified. The challenge was to eat all the ice cream, with the guarantee that if all the ice cream was gone, we would reschedule and do it again. NOTE: They didn’t eat all the ice cream.
BUT there would be other fun that only those at the party would experience.
CA$H BA$H was a cash give away. Students would draw tickets for amounts of cash ranging from $1 to $50.
DOOR PRIZES were random prize items I brought from my warehouse.
PIG RACES will need to be another story, but they were battery operated pigs that wriggled and grunted, or walked forward. There was zero control. Names were drawn for participants. Winners got cash or door prizes.
BYODT (Bring Your Own Duck Tape) was to be a highlight. Here’s how that went down…….
The students placed two chairs against the back wall in the band room; for Mr. Campbell and myself. And then, they had plenty of time to tape us to the wall with what they brought for the occasion
Obviously, I would require more tape.
When they finished, they gently removed Mr. Campbell’s chair from under him. He slowly slid down to the floor. So they all went about adding more tape to me.
Then….
…instead of gradually pulling out the chair, it was kicked out from under me, the way you might do if you were hanging someone….
It was such a violent (relatively speaking) maneuver that it pulled me away from the wall and I went crashing to the floor. I landed hard and, yes, it hurt……but the kids were laughing so hard I covered it up and laughed along with them.
And yes, they did help remove the tape from me and the wall.
UPDATE: This pic is from @2016. I retired in 2020, but I still like this pic and believe the point I am making.
I worked with teens for years. I thrive on their youthful enthusiasm. I have always believed that if you show them that you really care about them as an individual, and treat them with dignity and respect, that they will give it to you in return. Can you see that in this pic?
It was at my first Regional Competition at Chesterton in my first year returning to education in 2005. Mr. Campbell and I were walking back toward the buses with the judges’ “Silver” rating results. I was wearing a new school windbreaker Mr. Campbell had given me.
“You might want to take that off or flip it inside out.”, he said, with no additional comment.
I questioned him. He simply repeated the advice which I ignored because it made no sense.
We climbed up the ramp of the trailer to talk to the band. After we spoke, and when students started coming up the ramp, Mr. Campbell stopped them and said,
“Not on here. We’ll come down.”
I still had no idea.
A few seconds later they were all squirting silly string at us. It was one of those “traditions” no one had told me about. There was a “band buddy” system in place where, throughout the season, members would anonymously get small gifts for their “buddy”. But on the final competition, everybody’s gift to each other was a can of silly string.
What a mess. But, as soon as it was over, all students picked up as much of the silly string as they could. I found that impressive, but I guess it was part of the tradition … and we were at another school.
The next year, at Lafayette Jefferson, I was ready, and so were the students.
But I had a problem with the tradition and shared it with them….not sure if it was in a subsequent rehearsal or at the band banquet, but it went something like this,
“I have two problems with this silly string tradition. First, you are making a mess at someone else’s school. I know you work to clean it up, but you cannot get all of it and so there is always “evidence” that we were there.
NOTE: I started using the phrase, ‘Leave no evidence’ anytime we were needing to clean up, such as when we were having snacks or celebrating a birthday.)
And second, you are “celebrating” a SILVER rating. Yes, you’re probably celebrating the end of the season, but it just doesn’t feel right. I don’t want you to silly string ME again until you receive a GOLD rating.“
There were no “silly string” celebrations in 2007-08. But, in 2009, the band received GOLD for the first time since 2001. Speaking for both directors, I made them a “deal”…..
“Let’s have our “GOLD-rating Silly String Celebration back at HNHS, following the band banquet. Bring your stuff to the banquet, and afterward, Mr. Campbell and I will, voluntarily, meet you outside Door 34. Of course, you will have to do clean up, right?”
Deal!
I did two things to enhance our celebration. First, I brought several cans of stringy for Mr. Campbell and I to use. We knew we’d be outnumbered and surrounded, but we would not be unarmed. But also, prior to the evening, I had gone to a small group of trusted parents……
“Following the banquet, Mr. Campbell and I are going to meet the band outside Door 34. They will surround us and silly string us. When THEY surround us, I want YOU to surround THEM, and when it all breaks loose, I want YOU to silly string THEM.”
She was a new student who transferred in. I needed to listen to her so I could place her. I had never seen color-coded keys and it gave a good reason to have a nice get-to-know-you conversation. She said her band teacher labeled all their clarinetists’ keys like this. It was a nice horn.
Wow! I’ve spent my whole teaching career explaining the fingerings and expecting students to get it.
I HAVE had students label all their music notes. I didn’t allow it if I knew about it…..explaining that they were going to encounter more notes than they were going to be able to label.
btw I wonder if that teacher labeled trumpets or trombones.
In 7th grade, attending a band clinic at Morehead State University, I made the definite decision that I wanted to be a band director. No one on either side of my family had been to college, so I was clueless in many aspects of what it would take.
My band director, James Copenhaver, pulled me aside one day to explain:
You want to be a band director. That means you’re going to need to go to college, but your family can’t pay for you to go (My parents were divorced and my polio-surviving mother was raising five children.)
Your grades are okay, but not good enough for academic scholarships. You’re not athletic, so that is out.
The best chance for you to get to college is to become good enough on that clarinet that by the time you graduate, a college will pay for you to come. You’ve got four years.
UPDATE: Be sure to read the parent comments at the end of this article.
Over a decade after high school graduation, he told his parents he was bullied as a high school freshman, not telling them at the time because he feared they’d make a big deal of it.
He DID go to a teacher who ignored or brushed aside his emotional plea. In his valedictorian speech at graduation three years later, when he listed the “Top 10 Things I Learned in High School”, one of them was…..
“….that my head really does fit in a gym locker.”
Still no response. This was before all the more recent publicity of the terribly negative lifetime impact that bullying can have….but
…there is no excuse for inaction. EVER!
Fortunately, this story doesn’t end tragically…. but that doesn’t make it right.
I promised multiple stories. Here is Story #2. The first story is HERE.
I was a music teacher in the system from 2005-2020 (retired). This happened during that time…not sure the year.
$ $ $ $ $
Word came to the instrumental dept that one of our two contracted summer sessions would be cut from the budget and band parents could take over funding to keep both sessions functioning.
I was tasked with making our case before the board. The “conversation” went something like this…..
Me: Our FIRST summer session starts before the end of the Spring semester when we start integrating incoming students and preparing for the local June parade. Do you want the band to represent the school in the HD parade?
Board: Of course, the band MUST march in the parade.
Me: Our SECOND summer session starts a few weeks before the Fall semester and is when the band learns music, marching fundamentals, and the performance show for football games and band competitions. Do you want the band at the football games?
Board: Absolutely, the band MUST be at the football games.
Result: Funding continued for both summer sessions.
A few years ago, probably the last time I played thru a top-tier piece, I was alone on the local hs stage using Smart-accompaniment on a laptop and audio recording via phone…. I was probably preparing to assign it as I had made cuts for solo festival limits. I did flub the final 38-note run up to that high Ab (couldn’t hold onto it)…. but the rest of the 7-pages went well and fast, phone audio microphone considered.
Anyway… I recently shared the online link for someone to listen for some of the things we’re working on … (scales, arpeggios, chromatics, articulation, ornaments, etc). Told the parental I was going to look for the music. FOUND IT, well Joan did. No, not going to assign (yet), but do intend to use it for the above-mentioned fundamentals.
Most participants in high school solo competitions are only in the performance room long enough for his/her performance and maybe for a couple friends’. They could learn so much by sitting and listening/observing for a while.
She was a new student who transferred in. I needed to listen to her so I could place her. I had never seen color-coded keys and it gave a good reason to have a nice get-to-know-you conversation. She said her band teacher labeled all their clarinetists’ keys like this. It was a nice horn.
I was a music teacher in the system from 2005-2020 (retired). This happened during that time…not sure the year.
A few years ago, probably the last time I played thru a top-tier piece, I was alone on the local hs stage using Smart-accompaniment on a laptop and audio recording via phone…. I was probably preparing to assign it as I had made cuts for solo festival limits. I did flub the final 38-note run up to that high Ab (couldn’t hold onto it)…. but the rest of the 7-pages went well and fast, phone audio microphone considered.