Doubles Switching in Show

[Dragon]

I am playing in a show called "Seussical the Musical", and have a question for you show doublers. How do you manage physically getting from one horn to another? I've got some very quick doubles and am have trouble getting from horn to horn.

In one place I have to get from flute to bari (which is on a stand), have trouble putting the flute down, getting to the bari and keeping track of the time. Another place I have to get from bari sax to tenor sax really quick, I end up drop a couple of bars of bari to do even though I have the tenor on my lap with a strap, and the bari on a stand. I can't seem to get there in time.

Any suggestions?

Thanks, all :?

[NissanVintageSax]

Takes practice. Sometimes it isn't a bad idea to rig a playing stand for the Bari, so you don't have to neck strap everytime. You'll figure out when the instruments go on their stands, and when they go on your lap. It's tricky, but doesn't take long to set a rythm.

[SaxPlayer1004]

Oh, Seussical is easy, wait till you have to play Berstein :twisted: that's the hard stuff. I hear you though, the first time through on a pit is rough.

First, what are you doing playing tenor and bari in that show? Reed 2 has tenor, reed 3 has the bari part. Reed 3 has bassoon, and reed two has bass clarinet, so I'm kinda lost there, but anywho, onward with advice.

Bari, you either need to rig a playing stand, I find this incredibly irritating, but some people like it.
OR
For the flute double, keep the bari on the neck strap and just set the flute down. Pick the bari up at some 2 bar rest or something and keep at it with the flute.

For the tenor double, this is where SaxRax come in handy. Since you don't really have to worry about them falling over, you can make horn changes MUCH faster than you normally would. Hercules stands work better than some, but the saxrax are the best.

Anywho, for me, when I did Seussical last summer, I was on Reed 1 so Alto, clarinet, flute, picc, soprano, but I've done the shows with tenor and bari before. I would keep the bari on the right, tenor on the left, and get comfortable getting both on and off of the stands with one hand. This is the only real practical way to make some of the quick changes, and it also may help if you have two stands for the tenor. Most of the shows I do that have real quick changes, many of the instruments will have two stands, one on my right the other on my left. Flutes and clarinets and what not have pegs on both of my stands so they can go anywhere as well.

[NissanVintageSax]

Maybe he's transposing, or they're short some people (almost typed "short people" :D ).
I'm playing "Annie" again this Spring on Reed 1, using Alto and Soprano (transposing flute and picc parts, and playing Clarinet parts on Soprano). Last time I played I was on Reed 4, playing Alto, Tenor, and Bari (Tenor, Bari, Bass Clarinet, Alto parts).

Personally, I'm w/SaxPlayer (disliking the playing stands) on the custom playing stands some people use (and I suggested), but it is an option that some people do like, so I threw it out there.

[Carl H.]

You're doing Annie up there? We're doing it down here too. I've got no idea what book I'll have yet.

[NissanVintageSax]

You're doing Annie up there? We're doing it down here too. I've got no idea what book I'll have yet.

Yep. Last time I was in the "Annie" pit I was in High School :) .

The performances are April 17-19. I already have a Jazz gig on the 19th (was set before I was asked to play in the pit), so I don't know what Matt (the director) will do when me and the Tuba are gone that day (the Tuba player in the pit is playing Bone for the Jazz gig).

He's well aware of the scheduling conflicts, so it should be interesting! At least I'll make the Day performance on the 16th, and the other 2 on the 17th and 18th :) .

[SaxPlayer1004]

Ya but for bassoon, bari would be easier anyway *reed 3*, and reed 2 has bass clarinet, which tenor is probably fine for anyway. I dunno, I just didn't see why that double would be necessary. A lot of times the parts are written in for specific instruments and the composer knows what instruments are easier to switch to than others.

I.e. in the reed 3 book, there's bassoon and bari, but there would almost never be a 1 bar change from one to the other, whereas when you're playing little instruments, you can just put them on your lap for the time being and call it good.

I've been doing this thing for 7 years now, so it comes as second nature to me when doing it, and I also end up not transposing, so that helps. Sorry for being lost with the transpositions. LEARN CLARINET!!!!! tehe, just giving you crap. Umm, seriously though, if you have access to two single sax stands, try to get pegs on both of them and stick one on your left and the other on your right, which SHOULD help make the transitions easier for you, and practice the juggling act at home.

[Carl H.]

I had a regular gig on Sunday evening for a performance of My fair Lady last winter which caused me to not play the Sunday show. I was the bass player (that big wooden thing with metal stripes down the front) and made a strong impression of how weak the piano is as a bass instrument. I received many comments from actors, tech and other musicians that it sounded lame with the piano as the only bass.

Hopefully this will help to make sure they do not cheap out in the pit in the future. Musicals are scored the way they are for the sound, and not to take up space and get as many musicians off the street as possible.

[NissanVintageSax]

I never had the opportunity to play Suessical. They already had the parts covered, and I was too busy anyway (double whammy!) when they performed it in Brainerd. And yes, Bari/Basson, is very easy, as is Tenor/Bass Clr.

[NissanVintageSax]

Not really a matter of "cheapening out" up here. Just a lack of available musicians. And the local school can't afford to bring in hired guns from outlying communities. It's all volunteer.

OK. Since I typed that out, it does scream "CHEAP" doesn't it? I just like to play, so I'll take a gig paid or not (though paid ones, for obvious reasons, will trump a free-bie anyday! I learned that one the hard way!).

[SaxPlayer1004]

I have had my fair share of freebies. I love doing musicals, and for me it's the best way to keep my chops in shape. I honestly love being in the pit, and will jump at just about any opportunity I have to perform in one *except for Oklahoma, did that twice, and that one HAS to be paid if I'm ever to do it again*. I guess when you genuinely enjoy doing something, it's not all that bad to do it for free, especially when it's for high schools. I've done WSS and Music Man a couple of times for local high schools, and it's great to see the looks on the kids faces when they finally get to hear a top quality pit. A lot of them have only ever had the high school players, who may or may not be able to do that kind of stuff, and for those of you that have seen those two books in particular, it's not for the faint of heart. I've been on both sides of the stage, and both with top grade musicians, and lousy ones. It makes all the difference in the world to have good music to sing to.

[Carl H.]

Everybody down here knows that I get calls on very short notice from time to time and that money trumps freebies, but I still get asked to do the local freebies. I don't mind driving across town for a freebie, but traveling isn't likely to happen without something towards expenses.

Not much paying around here. St Paul and Fargo are the nearest paying gigs. Well the St Cloud symphony pays too, I guess, but for that amount I'll stay home and play with the kids.

[SaxPlayer1004]

YA, I usually try to get at least a gas comp, and most of the non paying gigs are able to help with that. I have to fight with the guys up here who have degrees in music for the paying gigs, but luckily for me, most of the sax players are mediocre at best on clarinet and flute. Somehow I got better at those than at sax, and that usually works in my favor.

[NissanVintageSax]

YA, I usually try to get at least a gas comp, and most of the non paying gigs are able to help with that. I have to fight with the guys up here who have degrees in music for the paying gigs, but luckily for me, most of the sax players are mediocre at best on clarinet and flute. Somehow I got better at those than at sax, and that usually works in my favor.

That is a nice talent to have. I can also play Violin and Mandolin, so that opens up pit opportunities as well. I've "tried" flute and clarinet, and just don't have the ambition. I know the embuchure for Clarinet, Oboe, and Bassoon, so if a player has problems on a note, they can show me the fingering, and I can get it out when they can't. So I know it's just a matter of practicing those "odd-to-me" fingerings. Just haven't been given the kick in the butt to motivate me! I have little excuse on clarinet now! We own a Bass, Alto, Bb, and A Clarinets that my wife plays!

Umm, and I think we effectively hi-jacked this thread! At least it's not too far off topic ;) .

[Dragon]

Thanks for your suggestions.

The Bari is played on it own stand which helps! There are 2 reed players trying to cover 3 reed books. At one point we are playing alto from reed 1 and tenor in reed 2 and not playing reed 3 which is where a quick change takes place. We are trying to play the 2 most important reed parts in any given section.

Every horn is on stands (this not my first play) but this the worst for trying to change horns quickly. I'm doing the bassoon parts on bari. Some flute parts, some clarinet parts, (some clarinet parts on Soprano, my clarinet sucks!), some tenor and most of the bari parts.

Normally I'd have 2 or more measures to change horns, but because of the 2 reeds verses 3 reeds books some impossible horn changes pop up.

Are there tenor stands that you can play the horn right on the stand? At least seated? I haven't seen any that would probably help.

Again thanks.

[NissanVintageSax]

Thanks for your suggestions...............


.............Are there tenor stands that you can play the horn right on the stand? At least seated? I haven't seen any that would probably help.

Again thanks.

Not w/out modifying an exsisting stand, or making a custom one from scratch. If you're good w/a welder and torch, it isn't that diificult. Use heater hose for padding :) .

[SaxPlayer1004]

There are for tenor, but you can only do one playing stand at a time for quick changes. The standing tenor stands are good for that, but are prone to being knocked over. There's no way to have two playing stands in the pit, you would have ot have one on the left the other on your right, and it would be incredibly difficult to pull off, yo'ure better of just getting better at moving them with one hand.

I say either try to find a third reed player, or have one of you split two books up instead of 2 of you trying to play 3. Stick one guy on reed 1, and have you play reed 2 and 3. Stick to reed 3, and when there are parts that reed 3 isn't playing, grab the reed 2 book and find that. Photocopying the music so you don't have to juggle two books is better for this.

Better yet, look in the original score. I can't remember if it's condensed or not, if it is, then you'll have to do this by hand. Don't be stupid, don't put yourself in a point where you have near impossible changes. If your part is double on piano, or in the brass or whatever which they sometimes will be, then cut that part and put another instrument in.

[DixieSax]

Annie.. Brings back memories - that was a fun show.

I'm doing Ragtime next month - reed 4 mostly (except the other clarinetist doesn't have an eefer, so I've got a few of those parts that are critical tacked into the book)

Ends up being a real wacky group of horns - Flute, Eb clarinet, Bb Clarinet, Soprano Sax, and Bass Clarinet.

Note to all - the hercules bass clarinet stand is a b%^&* to get the horn out of quickly.

Lots of pegs... lots of pegs...

Anyway, as many have said - you do it enough, and you get used to making the quick changes. Some are tougher to manage, but after a couple times through, you get used to where you have to pick up what - and sometimes that means having an extra horn in your lap early. Count me in with hating playing stands, but sometimes they are a necessity.

Good luck.

[Carl H.]

Annie.. Brings back memories - that was a fun show.

I'm doing Ragtime next month - reed 4 mostly (except the other clarinetist doesn't have an eefer, so I've got a few of those parts that are critical tacked into the book)

Ends up being a real wacky group of horns - Flute, Eb clarinet, Bb Clarinet, Soprano Sax, and Bass Clarinet.

Note to all - the hercules bass clarinet stand is a b%^&* to get the horn out of quickly.

Lots of pegs... lots of pegs...

Anyway, as many have said - you do it enough, and you get used to making the quick changes. Some are tougher to manage, but after a couple times through, you get used to where you have to pick up what - and sometimes that means having an extra horn in your lap early. Count me in with hating playing stands, but sometimes they are a necessity.

Good luck.

and not particularly well made either.

This is the yoke that holds the bell on my Hercules bass clarinet stand.

as always click for bigger image.

[NissanVintageSax]

The stand my wife uses for Bass/Alto Clarinet is a nickle plated one that folds up real well,and is reeal sturdy. We did have to add padding to the top though.

[BobbyC]

Dragon,

Sounds like you are on the right path.
The fastest tenor to bari switch I can do is to have the bari on a stand that you can play from while the tenor is on your neck.

Be very careful not to bash instruments into each other doing this.

For fast changes from flute or clarinet (and soprano sax) I'll put them on my lap until there's enough of a break to put them back on the stand.

Grabbing the flute or clarinet off the stand is pretty fast.

If you have any space in the pit try and arrange your stands for quick access to your instruments.


DIXIE - Thanks for the heads up on that stand - I WAS considering getting one. Any decent bass clarinet stands?

BTW - just got called about doing Peter Pan at the end of Arpil/beginning of May.

[Carl H.]

Get there early the first time in the pit, and every other time in the pit to make sure you have enough space.

[saxtek]

I found this thread late. The advice already given is very good.

Switching horns is like playing horns. It tales practice. first, scope out the music. Can you leave out a few bars before the switch and still make the switch invisible? Loud brass passages help you out a lot. After you make the switch frequently, you get good at it, and you can leave out fewer (or no) bars.

Get used to playing a smaller instrument (soprano sax, clarinet, even alto sax) with a larger instrument, like tenor sax, in your lap. Vaudeville players learned to do the same thing. Today there's no vaudeville. Is broadway really any different?

Playing shows is a skill that improves with experience. Despite all the love lavished on Broadway shows in the past, some of them are not well orchestrated, and some of them are pure genius. Get used to it.

[DavidW]

I just finished playing for High School Musical 2 (alto and bari). I think the shortest switch still gave me 5 measures to grab the bari, so not too bad. The alto part has some serious altissimo :)

[Multi Reed]

A few more suggestions:

I play a lot of pit shows. I keep all of my instruments on individual stands rather than ones that connect together. I find this allows me greater freedom in shuffling instruments to where I want them. My set up also takes up less room too rather than bulky combo stands.

When playing bari sax I usually play mine on the stand if it is small parts here and there and tight changes. When several saxes are concerned I wear two neck straps and on occasion sling both eg alto and tenor if changes don't really allow time to put one down and pick up another. If bari is on the stand I prefer it on the left as tenor hangs to the right when you play.

I also think a pencil is an extremely valuable tool too. Write advance warnings on your page of changes where practical. (I also mark when an instrument is no longer required and pack it away if no longer needed and the case is handy). I might write "sling alto" at a point where there is a break in a clarinet solo if the next piece starts suddenly with an alto solo. Easy then to drop the clarinet on its stand with the alto already set to go.

My set up is generally to have the more bulky instruments on my right with smaller instruments in front of me. If I am slinging the bari it would be on my right, tenor left of that, alto left of that, soprano, clarinet, flute, piccolo, oboe in front. Bass clarinet would be slightly left. Glow in the dark tape works well on the feet of the stands so that you can find them - black flute stands and piccolo stands are near impossible to find on black pit floors.

It gets easier. Last tip - if other pit members are shuffling past your gear to take a break at intermission. Stay seated until they have moved passed. Oddly enough, they seem to respect your gear so much more when you are there :)

[SaxPlayer1004]

Post-it Notes are one of my saving graces during put shows. They make strike much easier with minimal erasing, and also are more obvious when you're going through the show. Pretty easy to miss a pencil mark, hard as blazes to miss a fluorescent colored piece of paper.

My flute etc stands have glow in the dark paint on the top of the peg as well as on the base. The bullhorns have have as well, and the feet have bright red duct tape.

[Multi Reed]

yep... until your post its fall off or the brass players remove them. Several companies here prefer that the musos stay focussed on the job at hand and as the company are always waiting around on bump out - they get free cast members to rub out the markings :). I always ask the cast to do this when I MD shows :D (very handy with shows like Les Mis - Full score in 4 parts plus 2 piano vocal books)

[SaxPlayer1004]

I conducted Les Mis a few months ago for a county wide high school production. I had my book wiped for me by the cast members, and made sure to thank the director immensely. I told him not to worry about the others though because the person in charge of booking decided to split EVERY reed part into individual instruments. I had 30+ people in the pit, 20 of whom didn't do hardly anything. I told them to erase as they went along during the last show. I HATE when people do that. They are doubles for a reason, and most high schoolers can't go that long without doing anything. And Les Mis is LONG

[OboeGuy]

Dragon,

DIXIE - Thanks for the heads up on that stand - I WAS considering getting one. Any decent bass clarinet stands?

BTW - just got called about doing Peter Pan at the end of Arpil/beginning of May.

I have the Hercules Bass Clarinet/Bassoon stand which allowed me to switch quickly.
http://www.herculesstands.com/band/DS561B.html

I actually used it when i played Seussical (reed 2).

[SaxPlayer1004]

I believe they were referring to setting the actual stand up from folded to open maybe? Carl just had his fail on him though. Apparently the head is very weak on it.

[DixieSax]

Dragon,

DIXIE - Thanks for the heads up on that stand - I WAS considering getting one. Any decent bass clarinet stands?

BTW - just got called about doing Peter Pan at the end of Arpil/beginning of May.

I have the Hercules Bass Clarinet/Bassoon stand which allowed me to switch quickly.
http://www.herculesstands.com/band/DS561B.html

I actually used it when i played Seussical (reed 2).

That is a different stand than this one

http://www.herculesstands.com/band/DS560B.html

Which is the one that I called a b%^&*. Looks like the one you have is a different and perhaps newer design. Would be much quicker to grab the bass clarinet out of.

[OboeGuy]

Oh I thought he was referring to getting the instrument out of the Bass Clarinet (only) stand itself...it's got a lot of yokes to it...
http://www.herculesstands.com/band/DS560B.html
as opposed to this one...
http://www.herculesstands.com/band/DS561B.html
which is the one I have.

The B.C. only stand does seem a little awkward to me to have to use and set up... But i was pleased with the set up of the bassoon/BC one, along with getting the instruments in and out of the stand to play (i use it sometimes when teaching too....I have a Bassoon student followed directly by a Violin student...talk about odd doublings :P)

[Carl H.]

Anybody who plays strings and reeds is NUTS!

[BobbyC]

Thanks for the info.

I'll look into the 561 stand.

[Carl H.]

I'd go with the K&M 15040 or 150/1.

[DixieSax]

I've actually had very good things to say about every hercules stand I've tried except that 560 bass clarinet stand. The 561 looks like a better idea. But Carl's picture concerns me. How did that yoke break off? I just started using a hercules bari stand, and I'd hate to see that horn take a spill...

[OboeGuy]

K&M is a good one too. My friend let me borrow his during the first couple of rehearsals till mine came in.

[SaxPlayer1004]

I use the K&M stand for bassoon/bass clarinet, good stuff

Carl's little kid was playing with it and it snapped. kid weighs less than 30lbs he said. That's a little scary.

[dirvin]

I'm currenty playing a show where we are using 2 wind controllers to cover a great deal of parts.

So doubles switching is easy. Tap a footswitch and there you go :)

It can be kind of crazy. We're reading from the score and covering flute, clarinet, oboe, bassoon, trumpets, french horn, violin, and bells.

I'm using a VL70 and a Roland 5088 and we're getting a lot of positive feedback. (the VL70 clarinet sound is very accurate.)

The other benefits are a low pit volume and the ability to provide a good mix for the house.

[Carl H.]

Kid was 15 months old when it happened. The combination of how little it took to break it and their "Hercules friendly" warranty have me put off on any of their products. I bought it 2nd hand in new condition and now am SOL. All my other stands are in fine condition and my little girl was all over them up to age 3. She called my double stand a "bicycle" and sat on it regularly with no harm.

I can deal with the fact that the stand wasn't designed to be involved with my kid and that it was my fault, but they aren't even willing to sell parts for the stand.

[NissanVintageSax]

Anybody who plays strings and reeds is NUTS!

I guess I'm nuts then :) .

Just looked at the brand of Sarah's BC stand: K&M. Nicest parts is that it works for her Alto Clarinet too :) . She does need a second one though for when she doubles Alto/Bass.

[Carl H.]

The only drawback to the K&M I've found is the price, and nobody ever sells them used.

(I've been nuts for 20 years.) (actually, make that insane, I'm also a percussionist - not just a drummer)

[SaxPlayer1004]

Saxrax are just as bad Carl. Price is worse and the come up even less for sale in used market.

and that's just where I got mine :twisted:

I have avoided being nuts by that definition. By the rest, not so sure...

[Graysax]

Over the past decade (I sat down not too long ago and figured out that) I have been hired for over 70 productions of well over 40 different musicals - Most of which double - most being 7 instruments (because sometime you also have to condense 3 books to be played by 2 players - etc)

The original post complained about not having enough time to switch instruments. Its a curse for the woodwind double and we all find ways to choreograph these instruments changes - I just did a production of "How to Succeed" where there was literally 2 beats to Switch from Clarinet to Alto Sax - I made it every time - mostly because I have (as most of the others here posting) a way of setting yourself up to make the switch. It comes easier with practice as well.

There are some other rules that I heard touched upon that I want to reiterate as well.


Lets say your $6000 Haynes flute is sitting next to your $2500 Buffet Festival Clarinet with it's $200 Bay Mouthpiece - and next to that is your $4000 Mark 6 Alto with your $250 RPC Alto MPC - and your $2000 Weissman Picc is sitting next to that.

Lets see - do I make the entrance on time and knock over an instrument - or do I come in a beat or 2 late......hmmmmmmmm I know What I do. I try to figure a way to do it if possible but no entrance is worth a $200 + repair bill.

As far as instrument stands - you gotta find what works - and generally speaking the commercial stuff does ok - but the best ones I see the old pros use (including the old time Broadway guys) are all homemade. They may start with a commercial peg - but then a base that they made - one guy I play with has a old seat to a stool that he has put threaded inserts in for his pegs - all over the place - so he can set it up however he wants for a bunch of different applications.

Another guy has an OLD sax stand that every time I see him set his Mark VI in it it ALWAYS leans on it's own about 20 degrees to the side. I of course always reach out to catch it - and he just always smiles and says - 25 years - it always has done that and it has never fallen over once.

The life of a true show woodwind musician is not an easy one. But If you ever did a few shows - you know that some are easier than others (in terms of switching instruments) but you always seem to have at least 1 switch per show that makes you say - now how did they ever do that on Broadway?

Charlie

[Dragon]

Thank you all so much for your suggestions!

I especially like the idea of just putting the small instruments on my lap until I've got enough time to put them on their pegs properly.

Also the idea of glow paint on the pegs is a real good one, I will try that this week.

Best Regards to All! :D

[Merlin]

I especially like the idea of just putting the small instruments on my lap until I've got enough time to put them on their pegs properly.



The only time I do that is with fast flute/piccolo switches.

I actually have to make a bass sax to piccolo switch in West Side Story, and I leave the bass on it's harness in my lap when I play picc.

[jaysne]

During rehearsals, I note each instrument change, and then develop a logical layout of where to put each instrument's stand so its horn will be in the optimal place for ease of changing.

I also take note of the people around me and if it makes sense. For example, I will always park my bass clarinet to my right because it's easier to access that way. Ditto for any saxes.

[Dragon]

I want to thank everyone for their kind and generous advice. I did a show last night employing some of the advice that was given, and it went (for me) much better. I didn't have any glow paint, but I did have bright yellow electrical tape which worked just great on the pegs. I even put it on the sax stand and it helped so much! Tonight I'm going to put a little piece on the very top of the pegs, I think that should help even more.

Last Question for you show veterans: I live in the greater Hartford, CT/Springfield, MA area and while their may not be as many show as say NYC there are still quite a few around here. My question is this: what is a good way to get more gigs for shows? The orchestra pit crew is generally hired by the musical director and /or director not a contractor. I found where the musicianship is this show was quite high. I could hang in there with everyone. I know my clarinet chops need work, but I can work on that myself. So any suggestions on how to get more work without being crass would help.

Again, thank you everyone, and sorry for the long wind! :wink:

[tristanhall]

it's really bloody simple.... it takes a bit of practice... in terms of 'learning the book'... you may just have to not put the horn down... and pick up another... and that's why with those couple of bars rests before a couple of pages ago you were warming up the alto's neck.

i played the baritone book of the wild party... i had the baritone resting on my lap... the clarinet resting on top of the bari... whilst i was holding the alto without a strap... so i could go back to the ..... there was a spot where i could put the clarinet down... and pick up the bari.?

i'm thinking octopus

[bari_sax_diva]

If I'm playing a show where the pit is really dark, I put a clip-on desk lamp on my music stand upright (maybe a foot and a half up) and aim it at the floor so I can see where the horn stands are. With a low-wattage or colored bulb, it doesn't seem to bother anyone and I don't have to worry about dropping a horn. Best $5 I ever spent.

P.S. With a UV bulb in a lamp like that, glow tape would REALLY work well...

[qwerty]

If I'm playing a show where the pit is really dark, I put a clip-on desk lamp on my music stand upright (maybe a foot and a half up) and aim it at the floor so I can see where the horn stands are. With a low-wattage or colored bulb, it doesn't seem to bother anyone and I don't have to worry about dropping a horn. Best $5 I ever spent.

P.S. With a UV bulb in a lamp light that, glow tape would REALLY work well...

This idea I like!

Here are a few things that have worked for me.

I like the idea individual stands, or a Blayman base with many individual spots for interchangeable pegs. One show you're playing reed 2 flute, picc, clarinet and e flat clarinet and alto, next show it's reed one flute clarinet picc and soprano. I like flexibility!

On tunes where the switch is from clarinet or flute to saxophone quickly, I'll hook the saxophone up in advance so all I have to do is toss the flute or clari on the peg and my sax is ready to go.

One thing I will never do again is lean down while playing the clarinet and get the instrument on the peg while still playing to facilitate a quick change. I was doing this with some success on a run of "How to Suck Seed" until one night, I missed and caught the edge of the clari bell on the peg, jamming the clari mp into my mouth and chipping one of my front teeth. Bad move.

As far as secure bass clarinet stands go, nothing beats a Blayman. I have a buddy who puts his lovely new low c Selmer on one and it is solid as a rock. Of course they are over 200. But...when replacement cost of the instrument is close to 10000, I guess that isn't so much!

I don't love the K and M as they take up such a large footprint in typically crowded pits. I have a performance gear Bass Clarinet stand which I do not love, but with some modifications has served me quite well.

[RCNELSON]

If I'm playing a show where the pit is really dark, I put a clip-on desk lamp on my music stand upright (maybe a foot and a half up) and aim it at the floor so I can see where the horn stands are. With a low-wattage or colored bulb, it doesn't seem to bother anyone and I don't have to worry about dropping a horn. Best $5 I ever spent.

P.S. With a UV bulb in a lamp light that, glow tape would REALLY work well...
I just finished a run of the CITY OF ANGELS where it was REALLY dark except for the music. I used one of the extra stand lights on the floor so I could see the pegs for my flute and clarinet. Otherwise, it would have been a guess. I'm also going to remember the glow tape for my next show.

[barisaxbeast]

I tend to use individual stands for each instrument. I have a "jiffy" stand for my bari which alows me to play the horn on the stand and swing it out of the way when not in use. My bass clarinet is on a heavy duty bass clarinet/bassoon stand, very similar to the K&M but much sturdier. I tend to use separate clarinet and flute stands so I can position them where I want them, same with alto and tenor stands. I have been known to keep my piccolo in my shirt pocket before now... but its usually on my lap when needed in a hurry.
The biggest problem I find appart from the juggling of the instruments is lack of space to do it in. I've just done a week in a pit that was so small I had to lean to the left playing flute or the flute would hit the pit wall and the guy next to me had to do the same to avoid me. We had a few flute fencing moments!( Try saying that after a few beers!) It was so cramped in there it was a case of get your horns in, in my case bari, bass clar and flute, get yourself in and try and play without moving! Well that wasn't too hard coz you couldn't move. To top it off I had the brass right behind me blowing ffff in my ears and the seats were hard too! Oh how I enjoy working in the pit.......