The 15-minute recital: stamina, page turns and a tempting showpiece
An SL trumpet candidate plans a 15-minute solo recital. The programme is: (1) a lyrical Baroque transcription with piano, 4:20; (2) an unaccompanied 20th-century piece using straight mute and flutter-tonguing, 5:10; (3) a swing arrangement with piano, bass and drums, 6:15. The total is 15:45 before applause and setup. The candidate's teacher notes that the candidate's lip is tired by the final piece, the unaccompanied piece has a page turn during a sustained multiphonic, and the swing piece begins with a 90-second piano introduction. The candidate wants to cut the Baroque piece because it is 'too easy' and add a high-register showpiece, which would add 2:30. The exam allows a 15-minute programme with a small tolerance, and the candidate must submit a programme note. The candidate asks: 'Should I cut repeats, transpose the unaccompanied piece down a third, or drop the swing piece?'
1. Evaluate the proposed programme changes against SL solo performing criteria. What should the candidate do?
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Do not cut the Baroque piece merely because it feels easy. Solo performing criteria reward stylistic understanding, technical control and communication across contrasting repertoire. The Baroque transcription demonstrates tone, phrasing and ensemble with piano; the unaccompanied contemporary piece demonstrates extended techniques and control; the swing arrangement demonstrates rhythmic style and interaction. Removing one style weakens the programme's contrast. Adding a 2:30 showpiece would push the programme to 18:15 and worsen stamina. The immediate problem is the 45-second overrun plus the 90-second piano introduction. The candidate should shorten the introduction or start at the trumpet entry, trim repeats in the swing arrangement, and keep the three-style plan. If a whole item must go, cut or shorten the swing arrangement rather than remove the Baroque style entirely.
2. How should the candidate solve the page-turn and stamina problems without undermining the programme?
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For the page turn, memorise the unaccompanied piece or use a second copy or tablet with a pedal; if the sustained multiphonic makes a turn impossible, re-layout the page so the turn falls in a rest. For stamina, first reduce unnecessary playing: cut the long piano introduction, mark rests in the swing arrangement, and avoid repeated high passages in rehearsal. Reorder only if it helps recovery; putting the most demanding unaccompanied piece earlier may protect the lip, but the swing piece still needs rhythmic energy. Transposing down a third is a last resort because it changes timbre and may not solve fatigue. Practise full run-throughs with the exact pauses and setup time, because the exam assesses a continuous programme, not isolated pieces.
3. Write a model programme-note sentence that justifies the final programme.
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A defensible sentence would be: 'This programme traces the trumpet from Baroque lyricism through contemporary timbral exploration to swing, contrasting sustained line, extended techniques and rhythmic interplay; the order balances technical demand with recovery so that each style is presented with control and character.' The sentence does not list pieces or overclaim difficulty. It justifies contrast, ordering and stamina, which are the judgements the candidate has actually made. The programme note should then add one specific comment per piece, such as the Baroque piece's phrasing and terraced dynamics, the contemporary piece's mute and flutter-tongue colours, and the swing piece's interaction with the rhythm section.