Practicing the Petrouchka Solo

[Jay Lichtmann]

Practicing the Petrouchka Solo

Previously I commented in this thread:

http://www.trumpetherald.com/forum/viewtopic.php?t=77828

that I did not feel that having the snare drum part playing in the background was of any advantage in practicing the “Ballerina’s Dance” in Petrouchka.

This has led many to state: “OK a$$hole, you are quick to criticize Mr Cameron but don’t give any suggestions for practicing the solo yourself!”

To quiet those voices, here are four ways that I have found are helpful in preparing the solo.

1) One Breath - Breathing in this solo is very difficult. I think it’s best to tank up at the beginning and then take small “catch breaths” along the way. To help you get used to really filling up and using your air well, it is useful to practice the solo taking a huge breath at the beginning and only taking one other breath two bars before the end or 139 (before the last nine notes). I have heard of some people performing the solo in this manner, while I don’t feel that is necessary, practicing the solo in this manner can help.

2) The Increasing Metronome - Put your metronome at 100 BPM, play the solo through then immediately move it up a notch and do in again (I assume you are using a metronome that increases by jumps i.e. 100, 104, 108, 112 etc.). Continue the same pattern up to 126 BPM. Note how the solo differs in execution at the different tempos

3) Recording With Metronome - Once you have established your optimum performance speed of the solo (i.e. 112 or 116), put the metronome on at that speed and spend a minute or so really listening to it, trying “memorize” the tempo. Then turn it off, turn on your tape recorder and record the solo trying to play it as rhythmically accurate as possible. Rewind the tape, turn it on and after the solo starts turn on your metronome trying to synchronize the metronome to your playing on the tape. After a few measures you should be able to get it in sync. Then listen to your tendencies. Where do you speed up or slow down?

4) Berdiev Book - Practice the Petrouchka’s ”Ballerina’s Dance” study from the Berdiev Book published by Robert King. (It is a fantastic book by the way.) The study can be found here:

http://goo.gl/9B80X4

To make it harder (as if it really needed it) try to play the etude in 5 breaths, it’s a challenge!

Throughout practicing for this solo, remember to play lightly, with a crisp and clean articulation and with suitable dynamic contrast. Remember it’s the dance of a mechanical ballerina; play the staccato sections metronomic but light and the slurred sections in a beautiful smooth singing manner. Try to accentuate and bring out the differences between those two sections. End the solo with an exclamation!
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In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx

[Jay Lichtmann]

I should add, that it is helpful to be familiar with he solo in both the 1911 & 1947 versions. They may be found here:

http://goo.gl/fDTKsh

The differences are basically in the articulation and dynamics. Personally I feel the 1947 version is what most people want to hear in an audition (and performance) so I gear the execution of the solo to be that version. When I played the 1911 version in concert I ignored that part (for the solo) and played the 1947 version.
_________________
In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx

[nathan1290]

Removed

[poprishchin]

Thanks for these tips. I have a question about the PDF file your provided with the 1911/1947 versions: in the 1947 version, the last two sixteenth notes in the third measure of 138 are staccato. My 1947 part has them part of the final slurred passage. Is this merely a typo, or is the correct articulation actually staccato?

[Jay Lichtmann]

poprishchin,

You are correct, that is a mistake in my part. Thanks for letting me know, I will fix it and post the corrected version.
_________________
In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx

[trumpetchops]

Hi Jay,

Thanks for the help.
I have trouble with one small part. I have practiced this over and over and still get stuck.

I am referring to the 1947 version.

The spot I can't get is: Played on C trumpet.
The second, third and forth sixteenth notes in beat one, the bar after 136.
I get stuck on the open notes so I have been playing the C 2&3 but I don't like it. Any ideas.
_________________
Joe Spitzer
Monroe Ct.

[Jay Lichtmann]

Joe,

It might help you if you try to play the Es 1st and 2nd and play the C open. Anyway you cut it, it's tough though.

Good luck.
_________________
In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx

[tubbs831]

Hey,

I'm just wondering if it is at all common for guys to play this on a smaller horn, Eb for example? The solo doesn't tend to call for a huge sound so I would think this could be a possibility. Granted it is still a hard solo no matter what horn it is played on, but I would think using an Eb trumpet would have its advantages.

Adam

[nathan1290]

Removed

[johntpt]

Great practice advice, Jay - something for all of us to learn from.

I've performed the Petrouchka solo on C trumpet, Eb trumpet, and F trumpet. I've seen a famous principal player use F for the solo and C cornet for the rest of the piece, and a couple of others who used C trumpet for everything. Eb works well for the Balerina's Dance, Waltz, and the tricky muted passage right after the Waltz, I'd say slightly more reliable than C trumpet for those two pages. F trumpet gives you the best fingering patterns for the Dance, but doesn't work well for the Waltz so you have to switch horns very quickly and play the Waltz on a cold horn. And who's going to take an F trumpet to an audition just to play that excerpt?

When you perform Petrouchka, assuming you have a reliable snare drummer rhythm is not an issue. In an audition it has to be right in time without sounding mechanical and uninspired. While practicing it, try to hear the snare drum but think musically and make good phrases. There are lots of ways to be "musical" with this passage - make sure to get some good recordings.

Jay's comments on breath practice are important - if you're going to breathe during the solo make sure you don't lose any time in doing so.

JU

[loudog]

I like using my E-flat on this, however I practice it on BOTH horns.

What I've found that works very well for the Ballerina's dance is to finger the E's open, and the C's 2-3. It works great on my Bachalone...but may not on another horn.

Great advice Jay, thanks!! I never thought of recording something and then putting a metronome TO THE RECORDING! That's genius

LE
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Dr. Louie Eckhardt, trumpeter
http://www.LouieEckhardt.com
Associate Professor of Music
Hastings College

[AverageJoe]

Speaking to style points rather than technical matters...

Kevin Lyons (assoc. principal with ASO) gave me a really poignant way of approaching this excerpt. Basically, he said to think in a trumpet style for the arpeggios and in a cornet style for the slurred scale passages. Probably not a new idea, but still, a succinct way of coaxing the right style and colors out of a student.

Paul

[Trrrumpet Girl]

This is awesome, I have been looking for tips on practicing this song! Any others?

[MrClean]

We just played this last night, so I am in fresh "Petrouchka preparation" mode.

Absolutely practice it at a variety of different tempi. The first time I had to play the Ballerina's Dance publicly, it was for a children's show, and we were using high school-aged dancers that could not dance anywhere near the 116 indicated. Unfortunately, I had practiced it for at least 20 years at exactly 116. 100 didn't go down too well, and I was about 60% over the run of performances, which is just not acceptable.

This time around, I practiced it from around 92 to 120, which was very helpful when the conductor kicked it off at about 104.

I would also suggest that people don't get too rigid in their expectations of where/how much to breathe. While it would be great to do it in one breath, we aren't all equipped with the same lung capacity. At slower tempi, you might end up taking double the amount of breaths you anticipated, which is exactly what I ended up doing. What is of paramount importance is that the character of the dance remain - I don't want to hear someone playing on the back half of their air because someone told them they had to play it in one breath. If your primary concern is about how many breaths you're taking, you're going to be "easy meat" at the next audition.

Personally, I like playing it on a C, but I've heard others play it very well on smaller horns, most notably Eb and F. Whatever horn you choose, make sure you blow through all your phrases, that you have proper direction in your playing - don't try to "float" this one, or you will get burned. I use tongue-stops on all the short eighth notes instead of trying to suck the air back to make the notes crisp - this way, I can drive all the way through the note (no matter how long or short) for greater stability, plus it keeps the air moving in one direction - forward. The air is ready to go right behind the tongue when you go to play your next note - no "turbo lag", lol. This also eliminates tension in the throat and abdomen, as all of the articulation is done with the tongue, and not the aforementioned throat and abdomen, which are free to do their jobs - deliver air.

I've got a lot of other ideas regarding how to play it, but you'll have to come out to LA to get 'em.

J

[chad.daigle]

Great discussion--
I prefer C for the Ballerinas Dance and Eb for the Waltz and muted section right after...then quick horn change..
C for the rest of the piece aside from the ending..
However the first time I performed it the orchestra I was with played the alternate "concert" ending...pretty much everyone was pissed, I was on third for that one but with a GREAT section that I would have really enjoyed hearing the other two guys play it..oh well, our conductor was..nevermind..
Played the 47 version 3 times, once on each part..(I prefer third or balcony level seat , j/k) Ive gotten my moneys worth...
Enjoying the input from you seasoned vets out there.
Peace
Chad

[jpbartel]

[Jay Lichtmann]

I am sure you will all agree that (especially in an audition) the overall speed of the solo is less important than consistently keeping it at steady tempo and playing it in a stylish manner. I have listened to recordings that range from approx. 104 - 120 BPM.

I think the '47 version of Petrouchka is one of the hardest pieces you have to play as a 1st trumpeter in an orchestra. Each page has a different technical (and musical) challenge. I can't think of another standard piece in the repertory that requires so many different and varied technical skills of a trumpeter. You turn the page after finishing a section that's a has a bunch of ballsy loud playing and you have to play a though a section of lyric solos. Then you flip the page and it's a bunch of stuff loud in a mute followed by a tough technical section. There are passages that include not fast, but controlled double and triple tonguing. Then when it's all over you end up on the picc, muted & loud and everything is exposed and treacherous. It's like Stravinsky went through an in-depth method book for the trumpet and wrote a tough lick for each chapter.
_________________
In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx

[chad.daigle]

The dance solo and Waltz seemed like cake compared to the rest of the piece each time.
At least the excerpts discussed here are easy in terms of ensemble.
And you better have someone good waving the baton up there too, I think that gets over-looked too often by those in the orchestra (cough cough) who think its all about us..its difficult for everyone..
ole Igor MAY have known what he was doing..
Chad

[trumpeter27]

Jay -

Where do you typically take your "catch breaths" when playing the Ballerina Solo?
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[Jay Lichtmann]

You can take little "catch breaths" after the eight notes that are followed by two sixteenths in the 4th bar of 135, 2nd bar of 136, 3rd bar of 137, and bar 138. You probably will not have to take all of them, but those are good spots.

http://goo.gl/fDTKsh
_________________
In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx