Talk:Concerto for Two Hands

From Wind Repertory Project

Performance Notes

The Premise

Concerto for Two Hands is a fun way to feature just about anyone you can think of to solo with your band. No musical training is required - your soloist does not even have to be able to read music! The "two hands" refers to... clapping!


The Setup

To really bring this piece to life, I recommend a few options with staging. If possible, it's most effective to have a piano out (if you can get a grand piano, all the better!). The "soloist" would be dressed very formally and would walk out to the piano, bow and sit down. (In place of a piano, you may want to consider a keyboard percussion instrument or a setup that uses various percussion instruments such as snares, cymbals, toms, etc.) Other options include guitar, etc. The audience will be in shock, as they may not suspect that their principal, custodian, PTA president, local official etc. has any musical ability whatsoever.


The Performance

While the set does come with a part for the soloist, it is not necessary at all. Everything can be cued from the podium if the soloist does not read music. The opening begins in a very traditional classical style and leads into the first "entrance" by the soloist. This first entrance should include a lot of drama on the part of the soloist. You can see him or her preparing a few measures ahead and mentally preparing. Then the soloist prepares to play, but instead of playing the instrument, he or she simply claps their hands one time (dramatically!). There can be some interaction between conductor and soloist at this point (the conductor looking at the soloist and reacting along the lines of "What! That's it? Okay then...") The second entrance should be very similar, but less of a reaction from the conductor (and more in time if possible).

At measure 36, the Mexican tune "Las Chiapanecas" appears. Any soloist will easily be able to clap in relative time. If it's not in perfect time, don't worry. It will be even more comical if so. Measure 51 is the "cadenza". At this point, the soloist has free artist reign. A recommend a combination of hand sounds, clapping, hitting thighs, chest, snapping fingers, etc. He or she may even consider clapping and hitting thighs (much as one would do to make the sound of a horse galloping). Basically, the soloist should have a lot of fun here.

At the very end of teh piece, the soloist should clap for the ensemble as though he or she is an audience member. The soloist should involve the audience so that everyone is clapping at the conclusion of the piece.

To say the least, the possibilities are endless. No wind parts have any eighth notes and overall technical demands are quite low. The toughest part will probably be finding someone who is enough of a ham to really pull off the solo part!


- Brian Balmages