Petite Piece Concertante

JazzTrumpet19 · Posted: Tue Jul 08, 2003 6:07 pm Post subject:

At the end of January next year, I will be auditioning for the All South Jersey Junior High Band. I made it last year, but since I'm in 8th grade now, I want to aim for first chair! Well anyway, the audition solo is Petite Piece Concertante composed by G. Balay. Has anyone else ever performed this piece or have any performance/reahearsal tips? For the audition we have to play scales up to four flats and sharps, the solo and sightreading. Currently, I am trying to perfect the scales and practice the fast part of the song slowly. I would like to play the scales as fast as I possibly can, but still have them sound beautiful. This is a really cool solo -- the range isn't that bad (up to G) and there is lots of room for the expression in the slower section. The faster section has lots of quick tounging, contrasting dynamics, and sextuplets! Thanks
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Annie · Posted: Tue Jul 08, 2003 6:15 pm Post subject:

I've played it before. yeah, work the sextuplets - make sure you have them down pat and within tempo. Those things will come back to haunt you if you don't have them down. That whole end gave me some problems when I played it. Just work on your problem spots, but don't work yourself to frustration ( those sextuplets can do that ). It's a fun piece to play!
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smithwatkinsguy · Posted: Wed Jul 09, 2003 10:19 am Post subject:

I played that back in 9th grade, it wasn't too bad. I thought it was too easy for me but apparently those sextuplets came back to kill me. Not to mention I was playing it from memory and skipped an entire part (15 mm or so)...that was no good! Here's a tip for the sextuplets, don't play them like two triplets! That's my best advice...keep it fluid, and on the beginning of every sextuplet...however many there are, accent it so you know that you're starting a new one and it sounds cleaner. Good luck. Remember, in this piece, keep the dynamics exact, don't exaggerate too much or else you have no room for expression or anywhere to go with the really softs and louds

.
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DaveH · Heavyweight Member Joined: 20 Nov 2001 Posts: 3861

Yes, I played Petite Piece Concertante in the District Solo and Ensemble contest when I was in 9th grade - in 1966. I received a superior (I) rating on it. It has been a very long time ago. I prepared the piece under the supervision of my private trumpet teacher - something I would strongly recommend for anyone who is aspiring to become the best possible player and that is taking private lessons form a good teacher...

As you know, the piece is made up of two distinct movements or sections. There are metronome makings for each section. The first is marked Andante at 72, and the second is marked March Moderato at 112. Therefore, I would not recommend playing the sixteenth note runs as fast as possible, but rather in appropriate time with the rest of the section.
As usual, observe the articulation and dynamic markings throughout.

Be sure to show the appropriate stylistic contrasts between and with the sections. The first section is more or less broad and smooth with a little more movement at measure 26, returning to a tempo at measure 32. Notice the ritard at measure 53 and then a tempo at measure 55.

Use good staccato tonguing where called for in the second movement. Observe the dynamic markings; never ff until the end. My opinion is to not speed up, but maintain a constant speed in the second movement - resist the temptation to play faster and faster through the sixteenth note runs which comprise so much of the section. Crescendo as marked throughout the trill beginning in measure 106

I would say in terms of style to play the first movement broadly and smoothly, yet somewhat delicately especially in the piu mosso areas; and the second movement majestically and in a march style as marked. Again, I would caution against getting in too much of a hurry - otherwise it may begin to sound like a race to the finish.

I would suggest playing the piece as written with due attention to all markings including the metronome markings.

It is an excellent piece and not too difficult, so don't be intimidated by it in any way. I will be helpful if you have a good accompanist if you are using the piano accompaniment...

[ This Message was edited by: DaveH on 2003-07-09 14:07 ]

trickg · Posted: Wed Jul 09, 2003 11:31 am Post subject:

quote from Annie: - - "I've played it before. yeah, work the sextuplets - make sure you have them down pat and within tempo. Those things will come back to haunt you if you don't have them down. "

I've never really looked at them as being something to worry about, besides which, they pretty much are just a decending F scale. I play them cleanly, I play them sort of like a glissando. As long as it's musical and you hit the next phrase in tempo and right on the downbeat, I wouldn't think it would matter too much. If you push and crescendo through them, it will give a direction to the line and you should just nail the downbeat of the next phrase.

A couple of things come to mind though when I think of this particular piece.
1. Make a HUGE contrast in dynamics. (play as softly as you can control and when you crescendo to some of the FFs, make them as big and strong as you can without distorting or losing control of intonation.

2. Learn this piece well. Because of the way that it is written, especially the first part, you really need to learn it to where you can play with feeling and not play the markings on the page. Does this make sense? You still need to do all of the stuff on the page, but everything should be considered in the context of the line and the music that you are creating.

3. Don't play the fast section too fast. A nice brisk, light tempo will do and make sure to keep it light, otherwise it will start sounding frantic and heavy, and there is a tendency to pull back on the tempo. Try to make it sound effortless. Really watch your tempo so that you don't slow down in those few measures toward the end. Those measures right before the end were my biggest challenge out of the whole piece.

4. Really pay attention to some of the dynamic markings in the slow section and leave yourself plenty of room to move/contrast. There are a couple of places where you can actually stair step your dynamics and done correctly it is a nice touch. It's almost like someone is turning a volume dial between phrases.

Good luck on this tune. Let us know how it comes out!

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[ This Message was edited by: trickg on 2003-07-09 14:35 ]

elbobogrande · Posted: Wed Jul 09, 2003 11:54 am Post subject:

Regarding scales: I've never heard of an auditioner wanting to hear scales played quickly. Don't bother trying to play them as fast as you can. They don't have you play scales to demonstrate technique; that's what the solo is for. Concentrate on playing your scales at a steady tempo around mm.90-100. Just get all the notes and play with an even, beautiful sound.
Good luck!
John
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BarbaraJ11 · Regular Member Joined: 06 Apr 2003 Posts: 26

I know a number of NJ adjudicators. Scales are often what keeps good soloists from making the region bands or orchestras.
I strolled around the NJ and South Jersey websites and didn't find the breakdown, but I think its something like 60% solo, 30% scales, 10% sightreading. Your school teacher will know the breakdown. May also know what part of the piece they'll want to hear. No cadenza in solo will be heard.
My cousin trained piano with a Paris Conservatory teacher and a Curtis teacher. She had to learn pieces from the back to the front, that is sections at a time of course. So that she didn't spent too much time in the beginning and not enough on the end. Instead you start well and get stronger through the piece.

trumpetnerd7 · Posted: Wed Jul 09, 2003 4:36 pm Post subject:

i played this piece 8th grade and received a command performance on it - one thing you really need to be sure to do is emphasize the dynamics, and i if i remember correctly there are a lot of chances for you to be out of tune in the first section, so be careful on that. this is a fun piece, and good luck on your audition!

-scott cook

trickg · Posted: Thu Jul 10, 2003 7:06 am Post subject:

There are quite a few low Ds and C#s in the first movement and you really have to pay attention to the intonation and you have to remember to kick out your slide.
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cfmiles · Posted: Fri Jul 11, 2003 9:20 am Post subject:

I played this piece a few years ago. I really like it because it has everything, fast, slow, etc. The part that really gave me fits was the 16th notes at the end especially when they leap at the end of the group. I worked on it slow, and gradually sped it up, but the faster I got it, the worse it got. My teacher had me play the 16ths as written, but instead of doing the leap on the last one of each group, just repeat the 3rd note. His was of thinking was to think of it as a repeated note, you get your air moving, which in all reality was all of my problem, and then later put the jump in there but just sort of "toss" it up there and don't try to think about it too much. Maybe you wont' have the same problem I did, if you do, try this, it sure helped me.

DaveH · Heavyweight Member Joined: 20 Nov 2001 Posts: 3861

Does anyone know of any Internet sound clips of Petite Piece Concertante?

fuzzyjon79 · Posted: Sat Jul 12, 2003 3:43 pm Post subject:

My former trumpet professor at Western Carolina University recorded it and gave some hints/tips on it on his webpage. You can get the sound clip here: http://music.wcu.edu/st/mp3s/3tr.mp3

You can get to the hints/tips here: http://music.wcu.edu/st

If for some reason those links don't work, then go to http://music.wcu.edu and then click on the side where it says: "Listen to 2002-2003 All District Solos". Click on where it says "Brass", then "Trumpet", and there you should find it somewhere. Hope this helps!

**Click on 11-12 solo** and that is where it is at.... if you are playing this solo at the 8th grade level, then you are doing pretty darn well.

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[ This Message was edited by: fuzzyjon79 on 2003-07-12 18:44 ]

trompetita · Regular Member Joined: 09 Jul 2003 Posts: 40

Well, for the Iowa High School All-State Instrumental auditions, the break down goes something like this... It is like a funnel, first they have you play the solo, then the selected etudes, and then the scales. The solo is like the wide part of the funnel and then the etudes are more selective... and then the scales are what makes or breaks you. I agree with the comment on speedy scales... intonation is much more important.

As for Petite Piece Concertante... I had never played it before I got to college, it's not that I am a bad player... No one ever selected it for me. SO after I got to college... and my trumpet teacher totally changed my embouchure(they tend to do that) ... he assigned me this solo. We worked on connecting the notes and playing seamless phrases. For the march section... work on detachment. If you already know about that kudos

if you don't then talk to a good trumpet teacher about it. As for the sixlets... I thought that they were incredibly fun to play... don't look at them as an obstacle... just get them down cold and then enjoy them... then they will just come naturally

good luck

don't ever give up.