 The Clarinet BBoard
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Author: maestro_merlin
Date: 2018-04-11 20:29
Hi,
I have been playing Clarinet for the last fifteen years or so, and I really enjoy it. I am interested in getting into woodwind doubling for theatre shows, and currently play all the clarinets (bar contra) and Tenor sax.
What instrument would I be advised to learn next - would I be better starting with Flute, or should I focus on Alto / Bari sax?
Is it essential to be able to play double reeds for this line of work?
Also, what would your advise be on instrument purchase? Of course, I need to own the instruments that I would be playing in the shows, but is it necessary to have top of the line instruments?
I currently own a Bb, A, C, Bass and an Eb, and am looking at purchasing a Tenor and a Flute.
Thanks!
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Author: Ken Lagace
Date: 2018-04-11 21:55
It depends on each show, what is needed. The more the better, even oboe. The other saxes are the easiest before flute and oboe, which are different animals. And all the competitors for that seat are asking the same questions.
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Author: Hank Lehrer
Date: 2018-04-11 21:56
Merlin,
I would suggest the flute rather than the double reeds (I do play bassoon and oboe BTW). Here is a link to all the woodwind books for Broadway shows; it shows you the doubles.
https://shows.bretpimentel.com/
I do a lot of Reed V and in Guys & Dolls, which I'm playing now, the book calls for bari sax, bass clarinet, clarinet, and claves. Reed I is usually alto sax, clarinet, and flute. Reed III is quite often the double reed book. While shows will vary (in Chicago, all three reed books called for soprano sax) you can get the flavor of what is often the required doubles.
No matter what you do, have good, solid instrument stands. Many times you will have just a measure or two to make an instrument change. Changes come quick and the pit is not well lit.
HRL
PS Sometimes, a show run will not hire a full woodwind section. This makes for some very weird harmonies with missed voicings.
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Author: jordan.1210
Date: 2018-04-12 01:28
I'd suggest getting familiar with the main saxes (alto, tenor, bari, maybe sop) and maybe flute. Switching between saxes is pretty easy once you know how to play one.
You can try getting into double reeds, but I feel they are more niche use than the others you are interested in.
Currently, I play Bb and bass clarinets in a clarinet group I'm trying to start and tenor and bari (with a little sop) in a sax quintet I'm part of. Not a lot of ensemble playing for me right now, except for an online orchestra I'm a part of.
Knowing to play a variety of instruments is good since it can provide more opportunities.
Take this with a grain of salt because none of my playing is in a professional situation, but I only own two instruments that I would consider pro level: my tenor, a King Series III Super 20, and one of my clarinets, a K serial Selmer Full Boehm. The clarinet I use for most of my playing is a student Yamaha YCL-200AD and I find it more than adequate. My bari and sop are both Chinese and play just fine. I guess what I'm trying to say is a pro instrument isn't critical and good horns can be found in a variety of places if you know where to look.
Post Edited (2018-04-12 01:37)
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Author: Mojo
Date: 2018-04-12 16:48
Try to get some experience by playing high school shows. The books are the usually same as the pro shows.
High schools do not expect to find doublers for all their needs at the price they are willing to pay. Being able to cover a bassoon part on Bari sax or Oboe on flute or sop sax is welcomed compared to no one playing it.
Pro shows in big cities expect you to have the best quality instruments and to play them all like they are your primary instrument.
MojoMP.com
Mojo Mouthpiece Work LLC
MojoMouthpieceWork@yahoo.com
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Author: DougR
Date: 2018-05-04 20:05
I'll just chime in here--I study with a guy who's specialized in Reed I on Broadway for years, meaning flute, picc, alto, clarinet, maybe soprano sax. Frankly I don't know if he sought the niche, or if the niche found him. He also plays all the doubles, and usually plays lead alto in big-band settings; also does work for a local symphony when needed, on bari. A pal of mine has worked mainly as a sub on Broadway, will be going in shortly to sub on a show with a killer flute part, but has also subbed on whatever's needed, as needed (including bass sax and oboe). He subs in one show that requires oboe, but it's a relatively small and simple section so being able to play in tune and get the notes and follow the conductor is enough.
I'd say, follow your bliss. Anything new you pick up at this point would be useful--which do you prefer, high reeds or low reeds? Whatever it is, do that! (Then someone will call you and say, 'can you do reed 4 for blah-blah-blah show' and it turns out to be instruments you haven't been working on, and hey, that's life.) (And you just say, "Sure!" and then figure out how you're going to make the gig.)
Actually, maybe it's the technique that's the important thing, rather than this or that instrument. And the ability to follow conductors of all skill levels (including NO skill at all).
Flute is a bear, though. Way different in terms of air, embouchure, and approach. Maybe I'd start there, because it's taken me so long to get decent flute chops.
Also, (finally) take a look at Ed Joffe's website--he has one entire web video of established NY Reed 5 players talking about how they approach the book, how they got there, and so on. (actually his website is full of invaluable videos with major players on the NY scene.)
Good luck & have fun!
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