 The Doublers BBoard
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Author: rcnelson
Date: 2010-06-14 21:36
Just got hired to do this one, a 10 show run next month. Anything I should focus on when I get the book? It looks like/sounds like on the recording that it is primarily clarinet and alto with a bit of flute and piccolo. And according to Tams Witmark both flute and piccolo are optional.
Any and all comments appreciated.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: Jaysne
Date: 2010-06-16 02:52
I did this show about 20 years ago, playing Reed IV (tenor and clarinet).
Can't say much about the Reed I book, obviously... and I can't say much about the show, either. It was one of the dumbest, most boring shows ever. And aside from one bouncy big-band chart, the music was completely forgettable.
IMHO, of course.
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Author: rcnelson
Date: 2010-06-24 14:39
Well, Jaysne, as you have been the only one to reply, what do you remember about Reed IV? Outside of a handful of measures, the recording doesn't sound too difficult
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: Jaysne
Date: 2010-06-24 22:20
Yeah, Ron, as I said, there's not much to remember about either the show or the book. Twenty years is a long time to try to remember a show that was eminently forgettable. I'd say it's just probably another show, with maybe a few complicated runs here and there, but for the most part it's not difficult. As I said, there was one big-band-styled chart that was fun. And it does have a full sax section, so it is written as a jazz show.
My main memory of the show is the lead trumpet had a couple of bugle-call solos, and in the production I was in, he bungled them almost every time. The sax section contained a few tough guys and they showed no mercy in laughing out loud, right in his face, when he played badly.
Jim
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Author: rcnelson
Date: 2010-07-08 03:12
The Reed 1 book is very interesting. A lot of good flute parts, some difficult clarinet passages and even some harder than normal for Broadway alto sax parts. One more rehearsal, then we open on Friday, July 9. The flute and piccolo are double-scored for clarinet. I'm playing the flute parts but am playing the optional clarinet transposition for the picc parts. I think I need to find the money in the family budget for a picc. Another show or 2 like this one (or another student or 2) and maybe I'll buy one.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: Merlin_Williams
Date: 2010-07-08 13:48
It would seem more logical to me to play the picc parts on flute, rather than on clarinet...
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: rcnelson
Date: 2010-07-08 20:31
Merlin, I was thinking that way initially, but the double-scoring for clarinet is working out. It's only me, 2 keyboards and a percussioniet. I think the clarinet blends better with the instrumentation.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: rcnelson
Date: 2010-07-12 14:32
Have to post an update to this as it was a great experience this past Saturday, July 10, 2010:
We opened Friday, July 9 with a pretty good performance (the audience loved the show, standing ovation at curtain call, etc). On Saturday, as I was driving to the theatre, I discovered a number of traffic lights that were not functioning. And....when I arrived at the theatre, I noticed a few members of the cast outside. As I walked up to the front door, I asked "LEt me guess: no power". One of the case replied "No power". So, what to do?
The directors looked at the front of the facility (parking lot separates the theatre from the street) and decided to take the show outside. It was a beautiful evening, sunny skies, calm wind, around 80 degrees Farenheit, low humidty, over 120 tickets sold (theatre only holds 130), and the show must go on.
The crew moved as much of the set as the could out to the patio, we setup chairs for the audience. The MD used a grand piano, the young lady on the electric keyboard coverning the string parts sat and watched the show, the percussionist moved his setup outside and I set up beside the piano. Car headlights were used to flood the area with light, volunteers held flashlights on our music as it got quite dark midway thru the 2nd act.
What a great performance it was!!! The cast, crew and the 3 of us musicians were energized and in the end, pulled off a very memorable performance.
8 more shows between this week and next week. But none of them will be as memorable as Saturday night was.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: rcnelson
Date: 2010-07-26 12:36
One last note...finished the 10 performance run this past weekend. Very good cast.
Notes on Reed 1: piccolo and flute parts are double-scored for clarinet. I played most of the picc parts on clarinet, although due to our small group (me, 2 keys and percussion), I also played a few of them on soprano sax, which was actually better. There are a handful scarey clarinet passages to play, primarily due to the fast tempos. #17 as an incidental that is a mix of 5/8, 6/8 and 4/4 time with flurries of augmented and diminishied arpeggios. The DOGPATCH DANCE and THE SADDIES HAWKINS ballet both fly and require quite a bit of clarinet skill, especially if you play the picc parts on clarinet.
Fun show, but glad it's over. Next up: I looking forward to the possibility of doing THE DROWSY CHAPERONE in October/November. Would LOVE to do that one.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: oboesax
Date: 2010-07-27 13:38
How often do the musicians have the discretion to substitute instruments in parts? Ron, you said you played the piccolo parts on other instruments. I read often on these boards that musicians play oboe parts on other instruments as they don't play oboe. Is the alternate instrumentation often written out, or did you simply decide to play the piccolo parts on clarinet or soprano sax and transpose it yourself?
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Author: rcnelson
Date: 2010-07-27 15:06
To answer your 1st question: not often BUT our MD didn't care, and as I stated, the soprano actually fit the instrumentation AND the style of music better in some of the numbers.
In terms of the 2nd question: I have played a number of shows (Abner, Mame, Roar of the Greasepaint, others) where the book is double-scored, the desire instrument on the 1st line and the optional instrument on the 2nd line, transposed properly. In the case of Abner, all of the piccolo and flute parts were transposed to clarinet. In Mame, in Reed 2, all of the flute parts were double-scored/transposed to clarinet, giving the player the option.
The interesting thing is that on the day that we closed Abner just this past Saturday, I bought a piccolo. Now I have the fun of learning to play it well as I don't have the excuse of "I don't own/play a piccolo".
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: Jaysne
Date: 2010-07-28 23:26
Glad to hear you had fun! Maybe the production I was in (see my previous comments) was a dud, not the show itself.
I just finished reading Steve Suskin's book about Broadway orchestrators, "The Sound of Broadway Music," and he mentioned several times how the Abner orchestrations by Phil Lang were some of the best around.
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