So You Want To Play In Shows? If so, this is the book for you! These pieces by Paul Saunders have been composed as a direct result of an increasing demand from players interested in breaking into the world of show playing. The skill of the multi-instrumentalist has long been a given for theatre orchestrators and indeed the parts in recent years have become steadily more complicated.

Teaching posts now frequently require applicants to play ‘woodwind’ and should a career be considered in anything other than orchestral playing, then the ability to play more than one instrument is invaluable.

In my own case, after I left Music College, I rapidly found that playing one instrument was simply not enough. At the time of writing, Music Colleges have now started to recognise that the ‘multi- instrumentalist’ is now a specialist area of study and in some cases, they are developing courses in woodwind doubling.

These pieces are designed to be practiced and performed whilst sitting down. This emulates the environment of a pit player with the instruments required, (Flute, Clarinet and Alto Sax), ready on stands in front of you, exactly as a recording studio or theatre pit.

Quick instrument changes and varying styles provide you with an insight into the world of a multi-instrumentalist. Your aim is to always ‘make the change’ cleanly and on time.

About the pieces:

1. Acid
This piece is in an Acid Jazz style (hence the title!) and begins with a wandering solo line on the clarinet and then flute. The high sustained notes on the flute will prove challenging for the non-flautist, try to remember to keep your embouchure as relaxed as possible whilst keeping the airstream fast and accurate. None of the instrument changes are fast so you will have plenty of time to form the ‘new’ embouchure.

2. Charlwood
There are fast instrument changes in this piece, which give the player a taste of the time pressure experienced by woodwind multi-instrumentalists. Holding the current instrument in one hand whilst picking up the next is a skill that you will need, to enable the next one to ‘work’ on demand.

3. How Cool Can You Be
‘How Cool Can You Be’ is a more involved project for the more advanced player. It requires controlled playing on all three instruments combined with an understanding of phrasing and feel. This will help the player ‘lift’ the notes from the page. Best of luck with the FAST changes!

4. To Rio
After a short intro, ‘To Rio’ settles easily into a pleasant ‘Latin’ groove and is a genuine pleasure to play. This is written for just Flute and Clarinet and whilst performing it try to keep the groove light and easy. Imagine you are playing for a pool party!

5. Matinee Idol
This piece provides an opportunity to focus on just one instrument at a time, the challenge being the key signature at bar 29. Awkward on any instrument, get used to it! Songs for ‘Matinee Idols’ are written for the keys that they sing in, not the easy keys for us, and rightly so! Have fun with it and enjoy NOT having to change instruments.

6. Treading the Bored
A relaxed ballad that serves as a good starting point for the aspiring multi-instrumentalist as the emphasis is firmly on the sound that you produce on all three instruments. The relatively quick change in bar 29 can be assisted by already having the alto on its sling and (for the brave!) playing the flute B whilst resting the flute on the B/Bb screw for support thereby freeing up the right hand. The Clarinet writing becomes fluid in the following section but I don’t believe that there is anything TOO awkward.

7. Tried and Dried
This piece is an upbeat number that should be an enjoyable one to play. The major 7ths in the opening theme need ‘looking after’ with LOADS of air support and the middle clarinet solo should sound relaxed and un-hurried.

Live recordings of the piano parts, expertly played by Torquil Munro, are available to download free of charge.

Good luck and enjoy!

Backing tracks: Torquil Munro

Previously Published by Spartan Press
Former catalogue number:  SP1296