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Hardest Musical Books



 
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surferbob
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PostPosted: Wed Jul 20, 2022 2:46 pm    Post subject: Hardest Musical Books Reply with quote

For those of you who play musicals- which book have you found to be the hardest?
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wohlrab
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PostPosted: Wed Jul 20, 2022 3:17 pm    Post subject: Reply with quote

WSS is famously tough.

My favorite that had some tough lines but was still super fun was In The Heights but it didn't kill me endurance wise
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patdublc
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PostPosted: Thu Jul 21, 2022 3:23 am    Post subject: Reply with quote

Hopefully Tim will chime in.

It depends on what you mean by hard. For me All Shook Up was hard simply because I had to spend a lot of time preparing to deal with the range demands of the show. Technically speaking, it was not a hard book at all.
Hello Dolly is another book that is quite a blow so if you're not in shape, it will challenge you.
In terms of difficulty, most shows have spots where there is something challenging. But, I can't really recall any show where the where I thought the whole book was difficult.
WSS, tricky licks in Addam's Family, arpeggios in JCSS, Prince calls in Into The Woods, salsa solo in Chitty Chitty Bang Bang are all things I would definitely need to review before playing those shows again.
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Craig Swartz
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PostPosted: Thu Jul 21, 2022 4:35 am    Post subject: Reply with quote

I'm doing a run of Hello Dolly right now. Small company, only 2 brass, me and a t-bone. It'd be better to have a 2nd tpt for missing harmonies, plus the upper parts of my part double/triple those of the woodwinds and the pitch is pretty dicey, esp on the fast ragtime riffs. Book has both parts so I'm alternating back and forth as needed... Easiest part is this show only requires 2 mutes- straight and cup. Leave the big bag at home.

I did Pippin last year- 3 horns, pic part up there and fast changes, Pretty tough blow on some of the longer dance tunes. Flugel and Bb not so bad, was a stretch but I'd do again in a heartbeat.

WSS was normal, done 3 long runs over 40 years. First time was with the old book- 3 trumpets. Last time I was the only tpt, that was work.

Worst blow for me was Guys and Dolls- again, I was the only trumpet. There are quite a few places where solo parts alternate between both trumpets (muted and not, etc.) and changing and continuous playing for long periods got to be an endurance issue-really needed to pace the work with the horn on the face all the time in the dance tunes.

Something new to me this season- books are actually made to be tossed at the end of the run- mark any way you want, no erasures, etc. But book is printed on what amounts to be 8 1/2" x 11" cheap copy paper which is a real bitch to try to turn, esp if living in a relatively humid environment like the midwest. Lots of 1-handed playing and prepping page turns well ahead of time. I'd rather have the huge, old hand-copied T-W books from the last century...
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benlewis
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PostPosted: Thu Jul 21, 2022 5:36 am    Post subject: Reply with quote

Endurance-wise, the hardest for me has been Newsies. The road book almost literally took everything from the Broadway Reed Two book and crammed it into the trumpet part...

Ben
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trpthrld
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PostPosted: Thu Jul 21, 2022 7:34 am    Post subject: Reply with quote

"Hardest" is relative. You could categorize by most challenging for technique, range, endurance, style interpretation, etc.

"West Side" is probably the most agreed-upon for a complete challenge. It's not just being able to get through it but to also play it musically.

"Into the Woods" with the triplet intervals and Prince calls.

"In the Heights"...I'd say range for that one.

"Legally Blonde" simply because IMO it's way over-written. Listen to the OBCR - the last 3 notes of #6 "Positive" are three simple A's above the staff. The A - E - dubba A were added after the show opened. The book was written specifically with Dave Trigg in mind. That's nuthin' for him whereas the rest of us mere mortals...

www.youtube.com/watch?v=n1Ds-i3I4b0&list=PLaHwSBnw447p67Dcuf1FZukgj6Wnm0qK2&index=6&ab_channel=VariousArtists-Topic

And the end of #11 "So Much Better"...it's marked "(Opt.)" Do it only if you have it every time PLUS.

"Anything Goes" for solos, plunger work, extended dance tunes, etc.

Many shows with the big dance numbers can be a blow. "White Christmas" (a really fun book written pure big band style) has a big dance number to end Act I and then you're right back at it when Act II opens.

A HUGE blow in "Young Frankenstein" is #20 "Puttin' on the Ritz." Once it gets going not only the amount of playing but the page turns - oy vey! Tighten your seat belt & enjoy the ride!

"Chicago" for solos & plunger work.

For pure exposure....the opening trumpet solos on "Annie," "Newsies" & "Hairspray" can raise your blood pressure a bit. Those are all you and you're either the hero or the goat.

"Hairspray" for some long dance tunes & range, also for style.

Total range...dubba G#s & A's are more common these days. The highest written note I've seen is an 8va scale in "The Producers" #13 "Bialy."

Like Craig said, there are now non-returnable books. Nice for the non-return, but as he says, the paper quality leaves a lot to be desired. Fortunately you can get stick-on page turn tabs or, like me - make them yourself.

Get a pad of Post-It notes. With a sharp rug knife or hobby knife cut the pad about 1 1/4" from the sticky side thru the whole pad. Fold it in half on the page you want to turn quickly (sticky side on both sides of the page). You've now got page turn tabs!

When I hear of guys struggling with a show it's often because they're playing it too loud or too hard. Back off a dynamic or two, use the mic to help you out & endurance plus accuracy will generally instantly improve.
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benlewis
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PostPosted: Thu Jul 21, 2022 7:53 am    Post subject: Reply with quote

Great observations, Tim (as always...)

Next week I'm doing the Memphis portion of the My Fair Lady national tour. Although the orchestration has been reduced, it is still a lovely show and has not been "improved" by revisions...

August is a local production four-week run of Guys and Dolls. Yay!

Ben
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trpthrld
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PostPosted: Thu Jul 21, 2022 8:06 am    Post subject: Reply with quote

benlewis wrote:
August is a local production four-week run of Guys and Dolls. Yay!

I had forgot about “Guys and Dolls.” “Havana” and “Luck be a Lady” - those are a couple things to most def take a good look at.

Be sure to be play Nicely Nicely!
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cheiden
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PostPosted: Thu Jul 21, 2022 10:14 am    Post subject: Reply with quote

I love playing G&D. It's been called by some the perfect musical and I kind of see why. I'm sure I've never done it justice but I've found it manageable. I remind that I've mostly done only children's theater up to high school age, so no one cares if I take liberties, usually in the range department.
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benlewis
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PostPosted: Thu Jul 21, 2022 10:37 am    Post subject: Reply with quote

One thing that I've learned in doing local productions where I'm usually the only trumpet is that, with reduced orchestrations, you need to be very sensitive. Playing a trumpet one book as written when the original orchestration include a full brass section supporting will often be too distracting to the audience when you're the only trumpet. As fun as it might be, screaming out high Fs and Gs might not be the most musical choice.

I know, what am I doing playing trumpet...

Ben
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Ozzbo
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PostPosted: Thu Jul 21, 2022 11:36 am    Post subject: Reply with quote

Besides WSS...MAME, Funny Girl and Gypsy are all challenging blows.

I did a month long run on each of them in 1 season just before the world almost crashed and sucked up all the gigs for a year.

Ozzy Cardona
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Tpt_Guy
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PostPosted: Thu Jul 21, 2022 12:58 pm    Post subject: Reply with quote

Hm, I'd say the toughest books for me to play were probably Oklahoma! and Guys & Dolls. Not challenging technically, but it was back when I was using a mouthpiece that was too big and some of those tunes just don't stop. Chicago was tough because of a few naughty key signatures.

But, the toughest time I had was not a particular book but a single performance. I can't recall the book (maybe The Full Monty) but the group couldn't get intonation squared away in the first half. I'm trying like the devil tune to the lead player but it wasn't working. After a tune I lean over and quietly ask the lead player how my intonation seems because I just can't lock. The response explained everything:

"I don't know, I'm trying to tune to you."

I just about hit the ceiling.
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