Petite Piece Concertante has been one of the main staples in the literature of our instrument and also one of the most deceivingly difficult solos to perform in a true musical fashion.
One reason for this musical deception is the fact that the solo is not an ordinary solo where the performer starts at measure one and continues to the final measure. This “warhorse” is actually a series of short, four measure solos, each extremely musical by itself. For that reason, I have decided to illustrate this collection of short melodic segments in the following manner in order to make this solo easier for the younger performers to master.
As you can see from the study material included below, each short, musical phrase is set aside so that the student can realize the constant changes in dynamics, tempi and its general emotional variances. Too often a student approaching this composition tends to look at the whole piece as one composition instead of placing focus on these many and rapidly changing segments of the music.
Before starting this exercise, I strongly encourage that you listen to a beautiful rendition of this solo as performed by Mr. Ryan Gardner and his accompanist Charity Wicks. This recording can be heard on their recording entitled On Track “Nine Grande Solos de Concert”. I have included a link to their site so that you can listen to his beautiful rendition of Petite Piece Concertante.
And now for the purpose of this posting.
Included in this post are the following-
- Printed practice sheet of the solo which includes short phrases of the solo, first played by a Midi recording with an accompanying click track.
- Three recording at three differing tempi (Final tempo 72 beats / slower 62 / slowest 52).
Instructions for its use-
- Decide the tempo at which you can play it perfectly and start at that tempo.
- Once you are able to perform the piece perfectly every time, then advance to the next faster tempo.
Each short phrase is first performed by the Midi recording and you are to repeat the same phrase twice, in time with the click track. If you are unable to repeat each phrase two times perfectly, you need to select a slower practice tempo. If you need to change the volume setting, the Midi example is in one channel and the click track is in the other making volume changes possible.
Some of the advantages which you may not be aware are-
- Hearing it played correctly with all the dynamics, tempo changes and subtleties, will more quickly teach you the true musical intent of its composer.
- By frequently listening to the Midi performance of the passage, you will be forced to take frequent breaks which will help sustain your actual practice time and help save your lip.
- Being able to play each phrase perfectly twice in a row will help build your confidence.
Before you start and end your time practicing this piece, I strongly encourage you to list to Mr. Gardner’s recording so that you will be able to have a helpful goal set for yourself.
Petite Piece Concertante Practice Sheet
Finished Tempo 72
Slower Tempo 62
Slowest Tempo 52
