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  1. #26
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    Let's see hmmm...
    In the Pit:
    Man of La Mancha- Oboe
    Amahl and the Night Visitors-Oboe
    The Apple Tree- Reed 2 (I think)
    Sweet Charity (I got a call during intermission of dress rehearsal, read the second act, then read the first Act opening night)
    Grease
    Anything Goes (I was the only reed, and I covered the two parts in the cut down version-clar, flute, alto, tenor, sop[oboe], would have played bari, but there wasn't room on the 'ship')

    Sound:
    Anything Goes
    Man of la Mancha
    Sound of Mucus
    South Pacific
    Music Man
    Hello Dolly
    West Side Story
    Unspeakable Molly Brown
    My Fair Lady
    My One and Only
    Kismet
    Wizard of Oz
    Brigadoon
    Fiddler on the Roof
    Secret Garden
    Evita
    Joseph ahaTD
    Crazy for You
    Meet Me in St. Louis
    Most Happy Fella
    Oliver!
    A Little Night Music
    Candide
    Assassins
    42nd Street
    Silver Dollar (never made it to the Big Time, but had some great music)
    Rags
    Will Rogers Follies
    Seven Brides for Seven Bros
    Guys and Dolls
    Sweeney Todd
    Destry Rides Again (a REAL stinker)
    On the Town
    Once on this Island
    State Fair
    Where's Charley?
    Ain't Misbehavin'
    Children of Eden
    My One and Only
    Singin' in the Rain
    Three Penny Opera
    Seven Deadly Sins
    Showboat

    There's some more, but that's all I remember right now.
    Last edited by hakukani; 01-25-2009 at 01:23 AM.
    'This is faster than anyone has been gone before'
    -George Tirebiter

  2. #27
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    May 2008
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    Let's see I have directed:

    South Pacific
    Little Shop of Horrors
    Pirates of Penzance
    The Boyfriend
    Man of LaMancha
    Pippin
    Jesus Christ Superstar
    How to Succeed
    Godspell
    Tommy
    Children of Eden
    Sound of Music
    Secret Garden
    Oliver
    Cabaret
    Footloose
    Jekyll and Hyde
    Is There Life After High School

    I have played:

    Pirates of Penzance (clarinet)
    Chicago (reed 1)
    Company (reed 2)
    Sweet Charity (reed 2)
    Anything Goes (reed 2)
    Kiss Me Kate (reed 3)
    Bye By Birdie (reed 2)
    Pajama Game (reed 3)
    West Side Story (reed 4)
    The Rocky Horror Show (tenor sax)
    Crazy for You (reed 2 on one production, reed 4 on another, reed 5 on another yet)
    Seussical (reed 3)
    How to Succeed... (reed 4)
    Forum (reed 2)
    Guys and Dolls (reed 2)
    Hello Dolly (reed 4)
    The Boyfriend (reed 1)
    Sugar (reed 2)
    Once Upon a Mattress (flute on one performance, clarinet on another on the same production)
    Will be doing reed 5 on 42nd street in May.

    I bet I am missing a few.....

    My favorite to play is Crazy for You, West Side Story and Seussical. Least favorite has been Forum and How to Succeed.

  3. #28
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    Annie - Reed 2
    Cats (10-piece orch.) - Reed 1
    You're A Good Man, Charlie Brown - Reed 1
    Hello Dolly - Reed 2
    Company - Reed 2 or 3, can't remember
    It's a Grand Night For Singing - Reed 1
    How to Succeed in Business - Reed 4
    42nd Street - Reed 1
    Jersey Boys - Reed 2

  4. #29
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    Add Reed 1 of Li'l Abner.
    Selmer Mark VI Tenor 74xxx Selmer Soloist E or metal Berg 90/1, Hemke 3.5's
    Selmer Mark VII Alto, Selmer S80 C* or vintage metal C*, Hemke 3's
    Buescher True Tone Soprano (1924), Selmer S80 G, Hemke 3's
    Selmer CL200 Bb Clarinet, Vandoren B45, Rico Reserve Classic 3.5+'s
    Gemeinhardt C Flute
    Mertes Piccolo

  5. #30
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    Dec 2009
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    Primarily South Carolina but also reside in the following states: Florida, Georgia, and Louisiana
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    Cabaret (Reed II) flute/clarinet/tenor sax

    Pal Joey (Reed I) flute/clarinet/alto sax/tenor sax

    Thouroghly Modern Millie (Reed I) piccolo/flute/clarinet/alto sax/soprano
    sax

    Swing! (Reed I) flute/soprano sax/alto sax/baritone sax

    Man of La Mancha (Reed I) piccola/flute/oboe/clarinet/soprano sax

  6. #31
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    add reed 1/reed 3 of Music Man to my list. Miserable show run, lots of notes of "switch to other book on picc" then 4 bars later "back to other book on Eefer"
    A lot of "read other book here" in there as well when I couldn't switch. Fun mental hurtles to jump, but mildly frustrating

  7. #32
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    High School Musical 2 alto and bari (reed 2)
    All Shook Up bari and bass clarinet (reed 3)
    Music Man bari, bass clarinet, clarinet (reed 4 and 5 combination) I had to transpose the bassoon parts to bari, since I can't play bassoon.

  8. #33
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    Sep 2008
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    Fishers, IN
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    Just finished a three week run of You're a Good Man Charlie Brown this past evening( soprano recorder, piccolo, flute, clarinet, soprano and alto saxophones). It's a short, but memorable musical to be honest.
    -Mike S.
    Recorders(SSAT), piccolo/flute/alto flute, oboe, clarinets(Eb/Bb/bass), saxophones(SATB)

  9. #34
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    Quote Originally Posted by tenorsaxman90 View Post
    Just finished a three week run of You're a Good Man Charlie Brown this past evening( soprano recorder, piccolo, flute, clarinet, soprano and alto saxophones). It's a short, but memorable musical to be honest.
    What was your fav solo and on what instrument?

  10. #35
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    Personally, I think that the soprano recorder(and soprano sax which follows) solo(s) in Snoopy was the best soloistic part of the show. Otherwise, to me, it seemed pretty straight foward. We also had our pianist, drummer, and bassist play kazoos in that number.
    -Mike S.
    Recorders(SSAT), piccolo/flute/alto flute, oboe, clarinets(Eb/Bb/bass), saxophones(SATB)

  11. #36
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    Hey guys. I'm new here and I'm new to pit orchestras. So far, I've been in 2 pit productions. The first was last year when I was a junior in high school for our production of Footloose. I had clarinet/tsax. I like to call it "partial pit orchestra" because I was also on stage as Uncle Wes, but since Wes is barely on stage most of the time, this worked pretty well.

    The second was this summer for a community theater production of Wizard of Oz (my first pit orchestra gig!). It was clarinet/bass clarinet/bari sax. The musical director kinda did some flip-flopping on the woodwind instrumentation for that. Hope to do this this upcoming summer and throughout college and maybe professionally if the chance comes up.

  12. #37
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    Default If you like doing them...

    ...(and I like doing them as well), you will learn to be versatile. Filling in on stage is all well and good in school productions, but sooner or later you'll learn that it's best to stick with the music.

    (I've understudied a couple of G & S roles in college, plus I've played the on-stage tenor player (in drag, no less) for Cabaret once, in a fit of momentary insanity. (A short dress and roll above the knees 1930s hosiery do not make for a comfortable costume for a guy, I tells ya.) These days, I limit my acting to turning out the comic male vocal role in Love Shack.)

    And, slicing and dicing the books is pretty much standard procedure for all but the full bore union jobs. Usually, there are plenty of flute players but none who can play sax; ditto for double reed folks.

    If you learn the bass clarinet/bassoon/baritone combination well enough, you will be in great demand. At a bare minimum, I'd aim at alto/tenor/baritone, clarinet and bass clarinet - some combination of those five horns is including in most standard shows.

    The real epitome of doubling is being able to both provide and play a bass sax.

  13. #38
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    Quote Originally Posted by SOTSDO View Post
    ...(and I like doing them as well), you will learn to be versatile. Filling in on stage is all well and good in school productions, but sooner or later you'll learn that it's best to stick with the music.

    (I've understudied a couple of G & S roles in college, plus I've played the on-stage tenor player (in drag, no less) for Cabaret once, in a fit of momentary insanity. (A short dress and roll above the knees 1930s hosiery do not make for a comfortable costume for a guy, I tells ya.) These days, I limit my acting to turning out the comic male vocal role in Love Shack.)

    And, slicing and dicing the books is pretty much standard procedure for all but the full bore union jobs. Usually, there are plenty of flute players but none who can play sax; ditto for double reed folks.

    If you learn the bass clarinet/bassoon/baritone combination well enough, you will be in great demand. At a bare minimum, I'd aim at alto/tenor/baritone, clarinet and bass clarinet - some combination of those five horns is including in most standard shows.

    The real epitome of doubling is being able to both provide and play a bass sax.
    It seems like I'm already on a good start because I do in fact play clarinet, bass clarinet, and alto, tenor, and baritone sax! I'll also hopefully be learning to play flute and oboe in the near future.

  14. #39
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    Playing them is a good start, next step is to own functional models of each of these instruments and eventually to own and be worthy of professional level instruments.

    Beyond that you need to be aware of everything around you. If a line gets dropped or a verse forgotten you need to be able to musically move like 4 bars ago - now is too late! If the conductor says "twohundredthirtytwo, 3,4, " you had better be there. Mind reading is a good ability to have in live theater as well so you know if the conductor has an itch or twitch or is giving you the Q.

    Transposition at sight is always a plus. If the oboe or some other instrument (electric keyboard) has a failure of some sort and the book is thrust at you to cover the impending solo, you had better be able to read it down on whatever you can get your hands on. No huge biggie if you can't , but major points if you can - major.

    Being where you are, I hope you are studying with Tom Barry. Heck of a nice guy and monster musician. I miss working with him.
    Education: the path from cocky ignorance to miserable uncertainty.

    The chains of habit are too light to be felt until they’re too heavy to broken.

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