UIL Solo Performance: A Guide to Student and Ensemble Success in Rural Schools

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by Chris McLellan

The UIL solo contest or and/or local solo contests are a key event for student musicians at every level. They offer a unique chance for students to display their individual talents while also boosting the overall performance capabilities of their ensembles. By recognizing the direct link between solo performances and ensemble success, educators can adopt more effective teaching methods, leading to more polished and cohesive group performances.

I learned very early in my career from legendary mentors that there are three different and equally important sections to the school year. Marching season, concert season, and individual performance season. Individual performance season consists of the all-region process and solo & ensemble season. While I believe that the region process and chamber ensembles are a very important part of developing the student musician, solos are the most versatile in that they can be tailored to the individual students needs.

The Significance of Solo Performance

Participating in a UIL solo contest presents students with an opportunity for rigorous self-reflection and personal growth. In contrast to ensemble settings where they collaborate, solo performances require musicians to take full responsibility for their musical expression. This experience greatly enhances their confidence.

Through solo performances, students learn essential skills such as managing pressure, playing expressively, and communicating their musical ideas effectively. For example, a student preparing a challenging piece by Mozart is quite different from playing 2nd part in their ensemble. This experience not only benefits the individual but also enriches the collective experience within the ensemble. A group that includes accomplished soloists often sounds more versatile and rich, resulting in higher quality performances overall.

Everyone can Participate, Everyone Can be Successful

Early in my musical journey, I learned that solo repertoire was essential to my development as a musician. Starting in my first year of band, I played "The Downfall of Paris", by Haskell Harr for the Arlington ISD Solo & Ensemble Contest in which I earned my first superior division rating. I remember working diligently to perfect the solo and I really enjoyed the process. I wasn't taking private lessons at that point, but remember getting help from my junior high band director, Barbara Prentice now Barbara Lambrecht.

As I progressed through high school, I continued to perform solo's, mainly on snare or timpani and participated in percussion ensembles as well. Although I loved performing in the ensemble setting, the parts were not as challenging as my solos, and I was not able to make my part "mine" as I could through solo work.

Having spent the entirety of my career in rural schools, I realized early in my career that for real growth to happen in my bands, all my students (yes, I said ALL students) needed to strengthen their individual skills and a great way to do this is to learn to perform a solo. And before you say, "I don't have private lesson teachers," neither did I (with very few exceptions).

This was my process: After marching band competition season finished and we began the transition to concert band, I would begin meeting with my students to select a solo. I wanted all students to have a solo in their hands as early as possible and certainly before winter break. Unlike the region band process which may be more challenging than many students are ready for, solo literature allows students to perform a selection that matches their current ability level with just the right amount of challenge to improve their performance level.

At the middle school level students typically don't have to pick a solo off the UIL Prescribed Music List. In my programs we typically did select solos off the list, but in the middle school contest I administer for my region, this isn't required. At the high school level, students are required to selected a solo off the UIL PML. Most high school students performed off the grade 1 or 2 list, but many of our sub-non-varsity students started off with a grade 3 solo.

For students performing a grade 1 or grade 2 solo, we would meet with them individually for 20-minutes a week before school, during lunch, or after school to listen to their assignment for the week and help them with any problems they were experiencing. Since there were a total of three directors on campus, I would work with the woodwinds, my assistant would work with the brass, and our percussion director would work with the percussion students in our top two bands. This allowed us to become "experts" on selecting pieces that were tailored to our students needs and kept the amount of students we were responsible for as equal as possible. For me personally, as a percussionist, forcing myself to have a higher understanding of woodwind techniques and repertoire was essential to becoming a better teacher and ultimately helped me guide multiple woodwind students to reach their goal of being a member of the All-State Band.

With my sub-NV students (3rd band), I would select music that was available on Smart Music so that they could practice at home with an interactive platform and I would dedicate one day a week for students to practice during class while I walked around and helped students. Of course, they could sign up for before/after school help as well.

With all students, we had a video assignment due every two weeks that they had to submit for a grade. By dividing their music into manageable "chunks," (which we did on our first 20-minute lesson) the students were able to feel accomplishment while not becoming overwhelmed with the amount of music they had to learn. The video assignments were graded by the appropriate director and written comments were provided for improvement. To make this a manageable task for the directors, we would have off-setting due dates. For example: I would have flutes and double reeds due on the first and third Friday of the month and clarinets and saxophones due on the 2nd and 4th Friday's. This allowed me time to give immediate and thorough feedback without taking up a ton of time during my weekend. Generally, depending on the length of the solo, students were only assigned a third to a half page or so of music per bi-weekly check.

FAQ:

Q: "This sounds like a lot of extra time added to my schedule."

A: Yes, it does take time. I would generally arrive at 7 am and leave between 5:30 and 6:00 pm during solo season. However, it allows you to have one on one time with your students which helps in building trust and accountability, and it really made an impact on our programs development.

Q: How did you schedule the 20-minute lessons?

A: Each Sunday I would publish my availability on a Sign Up Genius schedule for the week. Students would be responsible for signing up for a time that fit their schedule that week. If I wasn't able to see a student during the week due to schedule conflicts or absences, they may be pulled out of my band rehearsal by another director to work with them. This was only done for extenuating circumstances.

Q: "Did all students really perform at contest?"

A: No. Realistically about 80% of our students performed at UIL contest and 95% of them earned a first or second division rating.

Q: "What about the other 20%?"

A: These were mostly students who had another school conflicts on contest day (winter guard, UIL academics, etc.) and a few students who were ineligible to perform at UIL. They performed for a rating on the Monday following contest at school. I would bring in a retired band director and they would perform for him/her during their band period. They didn't earn a medal, but they did receive feedback and a grade based on their performance. This process also encouraged students to actually perform at UIL and limited the number of students having to take this option. By not giving students an excuse to not learn a solo, we were able to grow this area in our program.

Building Essential Skills

One of the greatest advantages of solo contests is the wide range of skills students develop. These include technical proficiency, sight-reading abilities, and interpretive skills, which are vital for any musician.

Technical proficiency is essential. For instance, while preparing for a UIL solo, a student might tackle a complex technical passage from a concerto, allowing them to master difficult rhythms. This expertise elevates the group's performance level as they tackle pieces that require high levels of skill.

Sight-reading skills also sharpen when students prepare for solos. This enhancement leads to more effective ensemble rehearsals, with less time spent dissecting notes and rhythms and more time dedicated to making music.

Additionally, learning and performing a solo also develops confidence, work ethic, time management, and accountability which are critical skills to learn for success in the real world.

Performance Anxiety, Confidence Building, and Motivation

Performing a solo provides students with a platform to confront their performance anxiety. Provide students the opportunity to perform for a small group of trusted peers and encourage them to perform for their family to help them prepare for contest day. While playing in front of judges can be daunting, the experience builds resilience. For example, a student who receives constructive feedback from judges learns to view critique as a growth opportunity.

We also had a state qualifiers recital in May to provide an opportunity for students to perform for an audience and encourage preparedness for the end of year event. Eventually, this turned into a Concerto Contest where we brought in an outside judge and our Band Backers provided scholarship money for the top three soloists. This proved to be a great way to motivate students to continue their growth on the music at the end of the year.

Ensemble Cohesion Through Individual Mastery

A critical element of ensemble performance is the harmony and blend of individual parts, which can only be forged through deep understanding of each member’s role. Solo contests offer a setting where each student can polish their individual skills, ensuring they contribute effectively to the group.

As members develop through their solo experiences, they learn to recognize important musical elements that complement one another. This deeper understanding fosters stronger emotional connections within the ensemble, leading to more powerful, unified interpretations.

Teacher Impact, Program Development, and Program Support

Band, orchestra, and choir directors observe firsthand the significant change that solo contests bring about in their students. This growth allows them to tailor their teaching strategies, amplifying the effectiveness of their programs.

For example, if multiple students struggle with a specific technique during solo preparation, teachers can concentrate on that area during ensemble practice. This targeted approach not only aids the struggling individuals but ultimately strengthens the entire group.

Participating in and being successful UIL events resonates with administrators. While marching band is the most visible part of our program where the local community sees and hears the band every Friday night, we need to maintain our visibility and relevance during the remainder of the year. UIL Solo & Ensemble Contest is a great way to continue to promote the programs success and celebrate the students at a time of the year where many programs are quietly rehearsing for Concert & Sightreading Evaluations. Celebrating and notifying the administration and community of the success of your students and your state qualifiers will help build financial and scheduling support for your program.

Final Thoughts

If we as music educators want our students to develop a lifelong love of music and continue to perform after high school, how can we not require solo performance as a part of that journey? If gives ALL students a chance to be the lead player, to play the melody, and to develop their own musicality.

The transformation of individual musicians into adept solo performers enriches the ensemble experience, resulting in a more polished, cohesive sound. For both educators and students, recognizing the interconnectedness of solo and ensemble performance is crucial for achieving musical excellence.

As music continues to shape lives, the importance of UIL or local solo contests will remain a fundamental part of transformative growth in music education. Future musicians will continue to thrive through their solo experiences, subsequently improving the quality of their ensembles and reinforcing music's foundational purpose: to connect, communicate, and inspire.

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Chris McLellan retired in 2021 as Director of Bands for Springtown ISD and currently serves as Executive Secretary for UIL Region 7. Additionally, Chris is a clinical teacher supervisor for Tarleton State University and the University of North Texas Band programs as well as an active mentor and clinician for numerous band programs across Texas. Please visit mclellanbandconsulting.net for additional blogs, resources and contact information.