Author: fromsfca
Date: 2019-04-09 06:29
The embouchures are one thing, and between the 3 instruments you cite are very similar. Personally, my most difficult embouchure change is oboe to flute or piccolo (piccolo is rare, flute far more common).
Stand placement is one thing: at home experiment with where you feel comfortable placing the instruments. I like to keep everything in front of me. Saxes to my right, woods and flutes to my left. The size of your pit might also dictate where you can place the instruments. You may also want to practice playing clarinet while also holding the alto, which I have to do for a fast change, to keep the horn from getting cold.
Be aware of temp changes affecting pitch. I just finished a run in a theater that was rather cold, demanding me to warm up the saxes and flute before playing. Between numbers I kept the horns close to my body, while also placing my hands along the bores and keys to keep them warm them to enter in tune.
Another consideration is keeping reeds moist. Dry climates dry out the reeds, affecting response, I had a devil of a time playing low c# on alto in a recent show because the reed dried out when it hadn’t been played for a little while. I had the same problem on some exposed clarinet parts, when the clarinet had sat unplayed for a bit. In extended dialog scenes, I’ll take the reed off, rewet and reset it, if my next entrance is a solo, or an especially difficult part.
I open a tour of Spamalot next month playing your same doubles (plus piccolo and flute) and went through the book before hand just to look for quick instrument changes and where I might be able to fudge, if needed. The weather will be warmer, but some theaters have the ac too high, affecting pitch.
I agree with bass on a peg, but that does demand some gymnastics, getting the horn on and off the stand and around the sax into playing position. Be sure to practice the logistics.
Welcome to the wonderful world of doubling.
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