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The Trombone ForumCreation and PerformancePerformance(Moderator: BGuttman) Oliver! The musical - First time playing in the pit/brass ensemble
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Author Topic: Oliver! The musical - First time playing in the pit/brass ensemble  (Read 1782 times)
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vegasbound
There are 2 types of trombone player....Urbie & everyone else!

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« Reply #20 on: Jan 05, 2017, 02:14AM »

As others have said, watch the movie of the show, some of the songs have becom standards, you will have at least one band call before the run throughs probably a lot more as it i a school, be prepared the best you can be.....have a soft pencil, maybe post it notes and or paperclips for the inevitable changes/cuts etc..it depends on how experienced the MD is and how good as to how enjoyable the show is  ...but you do build a good amaount of anecdotes!!

e.g  A few years back I got a last minute call to do a theatre school production of 'Les Mis' (previous orchestration not current) The Sunday band call the MD did not show up after frantic phone calls they got a guy who had sung in the west end and touring versions of the show to MD, band call started 2 hours late, the keys player walked out during the band call as he couldnt play the show and the girl booked to play 2nd keys did not turn up, so the new MD covered that for rehearsal....on to the Monday technical unthrough, I had managed to get a friend of mine who was an MD on P&O to cover the keys part, so technical rehearsal starts and it is clear to everyone that the girl on 2nd keys didnt have the ability to get through the book.... so she quit at the break...... 1st performance the MD had called in a good friend of his who just happened to be the MD putting together the pro touring version of the show so he was auditioning cast members during the day and playing with us at night! 

Sad to say the trumpets where not upto it but would not quit and as they had connections with the theatre school the MD could not sack them!


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« Reply #21 on: Jan 05, 2017, 05:28AM »

We did "Oliver" when I was at school.  I played 2nd trombone (of two if I remember correctly).  Don't remember having to jump about to find different bits to play it just went straight through.  I managed most of it despite being in first year at secondary school (about 13 years old).

Probably the most notable feature of the performance was having Malcolm Martineau (well known accompanist now) singing on stage.

Ronnie

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Roscotrombone
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« Reply #22 on: Jan 05, 2017, 07:29AM »

Quote
I'm primarily a euph and bass trombone player


In addition that all that, I am not very good at playing tenor, mainly because my slide technique is not the best (range is not a problem), but I am working to improve it.
I'd appreciate any advice you could give me.


If you can manage the part on bass bone then don't sweat it but I'm failing to understand why your slide technique isn't very good on the tenor - yes there's marginal differences in where each position is on ANY bone so if you can play the bass well enough to do a show part then I can't see why doing it on tenor should be any different outwith mouthpiece size.

Just a thought

<Edit: Fixed Quote>
« Last Edit: Jan 05, 2017, 01:13PM by BGuttman » Logged

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BillO
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« Reply #23 on: Jan 05, 2017, 02:51PM »

Just wentr through my old music locker - cleaning out duplicates and odd stuff.  I came across some of my old pit books.  Two for "The music man" in 1990.  I remember that.  I was going to play 2nd and copied the book for that, but never edited it.  It turned out I was the only trombone player available that had an "F" attachment (a really nasty Abilene 88H) so got moved over to 3rd.  The range on that part is from high G to pedal Bb with lots of low Eb, D, C and B#.

The other was "Annie Get Your Gun" that we did in 1993.  For this on I was again to play 2nd, but the 3rd trombone dropped out less than a week before the show.  The book is a combination of 2nd and 3rd trombone parts.  Mostly 2nd, but the 3rd part was more important in places, so I'd switch for those tunes.  The range for the combined books goes from pedal Bb to high Bb.  Again, played on that awful 88H.  I had to get the valve re-built on that thing after only 3 years.  I also had the bracing shifted to release strain and the slide needed to be honed as it never worked properly.  All to no avail.  It still played like dirt, but that's another story.

I think if you have to play high often (much above middle C), you might want to think about a smaller MP, or even a large bore tenor.  It can be quite tiring to play a full sized bass in the high end of it's range for hours.








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« Reply #24 on: Jan 09, 2017, 08:11AM »

If you can manage the part on bass bone then don't sweat it but I'm failing to understand why your slide technique isn't very good on the tenor - yes there's marginal differences in where each position is on ANY bone so if you can play the bass well enough to do a show part then I can't see why doing it on tenor should be any different outwith mouthpiece size.

Sorry about that. I meant that my slide technique on tenor is not as good as on bass because I'm not used to the intonation of the tenor I have access to. I've noticed that I'm a bit out of tune in the tenor when I play above  . But you're right, I could play my part on a tenor just as if I was playing bass. I would just have practice and play scales on the tenor.

Also, there is a song that has a making that reads "On G Trombone if possible". The first few bars are high E's, F#'s, A's, and B naturals. I think I can play that high on the bass, but I'll drop it an octave if it's too much to handle. I wonder what they mean by G trombone. Isn't a G trombone a bass trombone pitched in  ?
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« Reply #25 on: Jan 09, 2017, 10:11AM »


Also, there is a song that has a making that reads "On G Trombone if possible".

That is very odd. I shall be curious to hear plausible explanations for that.

Who is the publisher of this arrangement?
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Robert Holmén

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« Reply #26 on: Jan 09, 2017, 11:27AM »

That's a new one on me.  Is there an unplayable gliss somewhere?
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Tim Richardson
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« Reply #27 on: Jan 09, 2017, 12:50PM »

Also, there is a song that has a making that reads "On G Trombone if possible". The first few bars are high E's, F#'s, A's, and B naturals. I think I can play that high on the bass, but I'll drop it an octave if it's too much to handle. I wonder what they mean by G trombone. Isn't a G trombone a bass trombone pitched in  ?

I hear that part is  written in a funny way, transposed, not in concert pitch... 
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« Reply #28 on: Jan 09, 2017, 03:45PM »

This was interesting:

http://archive.choralnet.org/view/222315
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Tim Richardson
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« Reply #29 on: Jan 09, 2017, 11:50PM »

I hear that part is  written in a funny way, transposed, not in concert pitch... 

I doubt it.  Never ever heard of a transposing part for a G bass trombone.

I don't remember ever seeing that on my 2nd part when we did "Oliver".  Must be a different arrangement.

Ronnie
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« Reply #30 on: Jan 10, 2017, 07:21AM »

I hear that part is  written in a funny way, transposed, not in concert pitch... 

Who did you hear that from?
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Robert Holmén

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« Reply #31 on: Jan 17, 2017, 09:24PM »

Who is the publisher of this arrangement?

Dakota Music 2008 version
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Max Croot
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« Reply #32 on: Jan 18, 2017, 03:17PM »

Hi. It's a fun show. I did it all on a large bore tenor. It moved so fast that I played the eupho parts on trom as there wasn't enough time to change instruments. As far as a G trombone is concerned the music is the same no matter what the pitch of the trombone. It's silly to say G bass trombone on the part, it can be played on any trombone. Max
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« Reply #33 on: Feb 01, 2017, 04:59PM »

It's interesting that this old arrangement (Dakota Music???) refers to a G trombone.... I played the Tams Witmark "combo" orchestration last year, which was a straightforward tenor book I believe.

Some time between then and now, MTI has acquired the rights from TW, and now the one basic arrangement has one trombone part, doubling euph and bass - but there are "alternate" parts, which calls for Trombone II to double on a G trombone.
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« Reply #34 on: Feb 02, 2017, 06:01AM »

I played in a production of "Oliver" a couple of years ago.  The Music Director opted for the original London/West End orchestration , a woodwind quintet with added violin, cello,bass,trombone, piano, and 2 percussion.   Worked really well, I thought. 
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