Woodwind books of Thoroughly Modern Millie

Discussion in 'Practical Advice' started by RCNELSON, Jan 30, 2008.

  1. RCNELSON

    RCNELSON

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    I've seen a bit of detail on this show elsewhere, but this relatively new forum needs the question: who can describe the various woodwind books of Millie? I know Reed 1 is the lead alto, with the primary flute and piccolo parts, Reed 2 is the lead clarinet book, both have soprano sax (I think) included. Reed 3 is oboe but these are often double scored for clarinet or possibly soprano sax and/or flute.

    Any other details? A community theater near me is doing Millie this summer.
     
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  2. Merlin

    Merlin Content Expert/Moderator Staff Member CE/Moderator

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    Don't forget reed 4 - bari/bass clarinet/clarinet and a couple of important duet flute parts.

    IIRC, Reed 1, 2 & 3 all have soprano. There's some great sounding soprano trios in the dance numbers.
     
  3. eddierich

    eddierich

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  4. RCNELSON

    RCNELSON

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    I love what Bret has done on his web site. My questions are more of "thing/traps to watch for" in each book. And which on the instruments could be considered the primary one in each.
     
  5. Ed

    Ed Founder Staff Member Administrator

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    That's a pretty cool site. I'm sure that took him a lot of time to put together but what a great resource.
     
  6. RCNELSON

    RCNELSON

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    Well, we have tech week with Millie this coming week, we open on Friday, July 25 and we are doing it with just 2 woodwind players. With some create dividing of the 4 books, each of us have 6 instruments to warmup and tune each night. It's a bit thin sounding in the sax and clarinet soli sections but for the most part, we covering everything. Now to get a good reed rotation setup for the rehearsals and the run of the show. I've got my 5 horns from my sig area plus a borrowed piccolo. It's going to a challenge.
     
  7. Carl H.

    Carl H. Distinguished Member Distinguished Member

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    This is where synthetics shine. You can go for optimal tone and response and a 50% chance the reed won't play when you really need it, or go for something that isn't quite as good, but always plays the same when you pick up the instrument and blow. For myself I have chosen Fibracell as my synthetic of choice for most pit situations, though I use a Bari on tenor sax. Some love Legere but they don't do much for me.
     
    Last edited: Jul 26, 2008

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