Pit Bands/Pit Orchestras

[Gaijin-san]

Does anybody on this forum play frequently or occaisionally in a Pit Band? Back when I was in high school, as Junior, I had the opportunity to play in the Pit Band for Guys and Dolls along-side many "local pros", or rather amateurs that really impressed me as a kid :) I absolutely LOVED this experience, and heck, I even got paid by the school I was attending. At the time (and even now) I couldn't double despite many of the parts books being written for alto sax/clarinet, etc.

Here I am years later and I so desperately wish to relive that experience. It was so much fun for me to be a part of that, especially in the valley that I live in which has some extremely strong high school theatrical productions.

How do I learn more about what it takes to be a part of a pit band? Where can I research this? What types of parts books are frequently used and what type of doubling might be most commonly required? What are typical going rates for these sorts of gigs (thought not my primary reason)? Is there any other advice that you might offer up to me or others like me that would like to get into circles like this?

Thanks so much,
Gs.

[MojoBari]

I play in the pit of several local high school productions each year. In my area, they happen from late March to early May. Musicians for the pit seem to come from 3 sources: current students or recent graduates, band directors from other schools, and local "pros". To get the most work, you need to play all the saxes, flute/piccolo, clarinet and bass clarinet. Next would be to also play oboe, then english horn and basoon. Some shows write out the flute and oboe lines for clarinet too. Oboe can be covered on flute or sop sax with sight transposing. English horn on alto sax with transposing too. Basoon is usually covered on bari sax.

Most shows tend towards 5 reed books: alto/clar/flute/picc, alto/clar, tenor/clar, tenor/clar/oboe, bari/bass clar/basoon, but there is a lot of variation. A second flute, picc or bass clar can be in any book. Soprano sax also shows up. Older shows like Rogers and Hammerstien shows, Fiddler on the Roof, call for a orchestra with no saxes. Just clars, flute, oboe/EH, basoon, strings.

You need to be able to read and play in weird keys to suit the vocal ranges and whims/laziness of the arranger. 5, 6, and 7 sharps/flats are used often. Double sharps and flats. Instrument changes in 1-2 measures. This is it. You are on the front line!

Pay in my area is as good as $50/service (typically 2 rehearsals and performances=$300). It is half that much at some schools, but they do not get the best musicians. Not a lot considering the amount of hours and skill involved. But if you like these gigs, its not about the $.

To break in, you usually need to know someone who knows your abilities. Some productions do not use players for all 5 reed books. You could try to locate one and offer your service gratis on an uncovered book just for the experiance. You need to know to lay out rather than play and make a mess of it. Once players know you can cover the parts, you'll get calls.

[AMASAX]

#1 - get good on your horn.
#2 - learn doubles if you want, but do NOT pass yourself as a good xxxx player unless you can really play.
#3 - get good on your horn.

Now you're ready for step #4:

#4 - find whatever, if any, local Theatre groups there are in your area and go hit up the music director or whomever contracts the gig. Unless timing is right, don't expect to walk in and be THE STAR; you'll probably have to wait, and if you get a chance, take a less than stellar part. BUT, it's a way in the door.

#5 Show up on time(BEFORE the show/rehearsal starts), be pleasant, be interested, and, of course, hack the part.

#6 See #5

I've been playing a local community theater gig for about 10 yrs now, play clarinet/sax/hack flute, has been most phun gig of any i do(play clarinet in regional orchestra, dance band work on sax, etc). The theater folks are NOT interested in YOU being the BIG SOLO dude, they're interested in you providing the proper background for what's happening on stage. So, work habits, along with competency on your horn, plus a bit of luck waiting on timing, are the biggies to get you going.

Having said all of this, if you're primarily a sax player, your opportunities will be somewhat limited, as most pit gigs either require doubling or are on other instruments.

So, scope out your area and see if it's doable; might be, or might not be, just depends on the amount of action and whomever might have the gigs locked up.