playing a show

[trumpetchops]

Most of the time when I'm hired to play a show it's a small band. On the last one Beauty And The Beast, I was the only brass.

Two questions:
First, I'm sure the show was scored for more brass. I had things up high that sounded weird. I was way up high with nothing under me. I took some of this down an octave. Is this what most do or do you play the book?

The second question is about mute changes and instrument changes. They come too fast. The guy that arranged the show must hate trumpets. What are you expected to do?
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Joe Spitzer
Monroe Ct.

[trpthrld]

When I get into ridiculously reduced pit situations, I'll talk with the MD just to clear the way that I'll be making changes. Every MD who I've done this with has always deferred to my experience and judgement. I make any changes I feel necessary for my chop and equipment survival plus that will benefit that particular production of (name of show).

I've done all 3 versions of B&TB - subbed on the Broadway show, the 2-trumpet version and the one trumpet version...which I think is the one you're referring to.

The change to piccolo (and it's not where picc was used on B'way) is done in 3 beats of time, and you then double the clarinet. When I did that version, along with not damaging a horn or my chops in the process of that quick of a change, I played it on Bb trumpet down an octave. That matched up much better that playing it on picc with the unison clarinet. That line should be a clarinet solo feature section.

I recently did a run of "Cats" where I was the only brass. We had 2 reeds, 2 keys, bass & drums. It was obviously a high-voiced pit with many unisions between me & the reeds...and sometimes it was all 3 of us in unison.

I took almost everything down an octave, which not only filled out the voicings, but helped with some pitch issues that the reed guys were kinda oblivious to.

In reduced pits, which are also usually in smaller theatres, playing lines up where they're written will often sound out of place, cover up the singing, and / or simply sound like there's a trumpet player trying to show off. Use your experience and judgement, along with the MD's approval to make the production sound the best that it can.
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Tim Wendt

www.trumpetherald.com/marketplace.php?task=detail&id=146827&s=The-Best-Trumpet-Lead-Pipe-Swab-EVER--

www.youtube.com/watch?v=zPWAJqghk24&feature=youtu.be

[Shaft]

Sometimes show music can feel exposed. Speak with the director about that. It may be an arrangement, or altered....or just written that way. See what he wants and also take into account the size of the hall and audience seating area.

Mute changes are a part of any show that I have played in and they do come quick. Keep your next mute in your left hand and play a line or two one handed then throw it in. Have another mute in your lap for the next change.

Other options come to mind but there are trade secrets that one learns while "on the job".

Cheers
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🎺

[benlewis]

Joe,

What Tim said...

I do a lot of local theater and HS productions, as well as playing the (unfortunately) increasingly infrequent national tours that come through Memphis. My focus in the local productions is to play as musically as possible and to do everything I can to add to the show, not detract from what's happening on stage. A lot of the time that means taking things down or playing the second part to add harmony, as well as playing cues. In newer and cut-down orchestrations, they write less tutti stuff, so it's not such a concern. In older musicals, a lot of times Tpt 1 and Tbn 1 are in octaves, so you have to decide who'll play the harmony. I do it a lot because Tpt 1/2 are written together more often.

For Beauty & the Beast, I took a pair of old straight & cup mutes and duct-taped them end-to-end; that way I could just flip them quickly instead of fumbling. Of course, that was only for the insane fast changes; I still used my regular mutes for the normal passages.

HTH

Ben

[trpthrld]

[trpthrld]

Another thing with smaller pits is the MD is usually more concerned with what's happening on stage.

Not that they don't care about the pit, but their focus is elsewhere.

That doesn't mean you can do whatever you want, but most adjustments like what have been mentioned most likely would not be noticed. In fact, I've never been told by an MD to put the octave back into something I've taken down.

And Ben...I'd sure love to see a video of your duct taped cup/straight in action!
_________________
Tim Wendt

www.trumpetherald.com/marketplace.php?task=detail&id=146827&s=The-Best-Trumpet-Lead-Pipe-Swab-EVER--

www.youtube.com/watch?v=zPWAJqghk24&feature=youtu.be

[trumpetchops]

For some of the fast mute changes I used an adjustable cup. Way in for the cup parts and all the way out for the straight. The straight mute sound was a little off but it at least changed the sound.
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Joe Spitzer
Monroe Ct.

[nieuwguyski]

I recently played the one-trumpet version of "Beauty and the Beast."

The piccolo trumpet bit is simply crazy: Three fast beats to grab a cold picc and make a high entrance in a terrible key -- which is a transition to a new key which then promptly calls for double C and then double D on picc...

Unless you decide no sane orchestrator would call for such insanity and take the lines down an octave, at which point you have to play a pedal Ab on picc.

I ignored the picc cue and played the end of "Gaston" on Bb, in the octave written, and all was fine.

The mute changes are really no worse that other shows I've played, except that you also have to make quick changes to flugel (to make up for the missing french horn). I made lots of notes in my part about when to put the flugel in my lap (or leave it in my lap), or when to grab the trumpet (during a rest while I was playing flugel) and a stuff a mute in the bell and put it in my lap, so I could make a crazy switch from flugel to muted trumpet.

There were two moments I simply had to accept weren't worth trying to pull off: The picc bit in "Gaston" and a moment, late in the show, that called for flugel "if possible" and then a bar later launched into some upper-register fanfares that only made sense on trumpet.

All this said, I had to appreciate the fact that I was playing an orchestration that only called for one trumpet.

A few days ago I subbed for a friend who was playing a high-school production of "How to Succeed in Business." It was the standard full-orchestra book, but the orchestra was just piano, guitar, bass, drums, sax/clarinet, and trumpet.

Oh, and there was no pit so the orchestra was backstage such that the singer couldn't see the conductor, so the orchestra had to follow the singers no matter what.

Oh, and there was no director. The MD was also the piano player, who was in front of the orchestra and facing the stage so we had to follow her back.

And her back was a really bad conductor.
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J. Notso Nieuwguyski

[Rapier232]

I've agreed to play for Sweeney Todd, just got the book. Wish I'd said no. Boring is an understatement. They even want us on stage, in costume. Only brass player required, and I say required reluctantly.
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Smith-Watkins Bb
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[Fuzzy Dunlop]

[dan1020]

I'm playing a production of Merrily We Roll along right now and I've come across the same issue.

The pit is 2 keyboards, electronic drums, trombone and trumpet. There are several spots in the show were the trumpet part is in the upper register and there is nothing under it. Just like many have mentioned, I checked in with the MD on those spots, and many times have agreed to take lines down an octave so it 1) doesn't sound out of place and 2) doesn't cover up the un-mic'd singers.

As far as quick mute changes, I don't know if anyone mentioned this already, but there are mute stands that can clamp on to your stand.
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B&S eXquisite Bb

[trumpetchops]

[tpter1]

For some really fast and near impossible mute changes (i.e. a beat and a half on a page turn...believe it or not I've seen that...) I leave the mute change out or mute sooner or leave it in longer depending on the circumstance. Chances are (especially if it's a school production) the MD has no idea what mute is or is not needed or what instrument is called for (most show scores are reduced piano scores anyway). If he/she does, fine. We talk. Same with horn changes that are ridiculous and physically impossible. I try to make them all, but if it is impossible, then it's impossible. I don't stress about it and move on.

I remember playing Dirty Rotten Scoundrels, and one tune called for flugel and 3 or so measures of cornet back to flugel. I left it on flugel. I think the composer did that so the trumpet player could get extra doubling fees for a 3rd instrument.
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-Glenn Roberts
"Character is the backbone of human culture, and music is the flowering of human character". -Confucious

[Rapier232]

[trpthrld]

[John Mohan]

[cheiden]

I actually enjoy working out the mute/horn choreography for musicals. It does take extra time to fully annotate the part and I always have horns on stands and mutes in holders or on an adjacent horn case. And hardware always gets staged on my lap for the really quick stuff. I usually take liberties with what's written until I get really comfortable then try to approach what's written as best I can.

I also frequently make adjustments for high stuff that are too exposed or insecure. In the first read-through I'll identify the spots where there's excess unison playing and then edit from there. It helps to get time with the score.
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"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
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[gwtrumpet]

I've been doing amateur and professional theatre productions for many years now. What I generally do to assist in quick mute changes (space in pit permitting) is take in a small fold up table that is just big enough to fit my mutes on, and sit it right next to my chair. I find this reduces the time to change the mute slightly by not having to bend down. The other thing I do is pick up the mute in a large rested section prior to the muted section, and leave it sitting in between my legs. Study the charts and plan where you need to prepare your mutes.

I agree with the other comments about the extreme register playing in reduced orchestra scores. Talk to the MD first. The MD's I work with trust and respect my judgement and ability enough when I suggest that some parts come down an octave in order for have a fuller and balanced sound.
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Greg
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Bach 37 Standard Bb
Yamaha Xeno Cornet
Yamaha 635ST Flugel Horn