2nd try on this reply:
John Howell wrote:
>But in every case an instruction like "[to 115]" is given, even though
the next bar in the music is actually bar 115. That strikes me as a
temporary expedient that I would >have removed when the intervening
measures had been removed. Is there a reason for leaving them in?
-
More than once in ballet rehearsals, we have had the conductor give us
cuts we already have in the parts. If he/she starts to say "make a cut
from bar 99 to 115," in this case, we would say "It looks like the cut
is already in the parts." Even if the bars are still numbered 98, 99,
115, 116, leaving the written direction in could make that more clear.
----
> I was surprised to find that the bass clarinet parts (the primary
instrument out of 4 in the Reed 4 book) is clearly written for a low C
bass clarinet, and the bottom >three notes are used a LOT! Our bass
clarinet player discovered last night that most of those low notes are
doubled by cello, so he'll just take them up an octave, but my >question
is whether low C bass clarinets have become as common as low A bari
saxes outside NYC? It's a cinch that nobody around here has one.
-
Pro symphony players will usually have one. Great sound - Khachaturian
Piano Concerto is one of the best examples that require it, along with
many other Russian scores.
---
> Also, there are no ossiahs to make the English horn passages playable
on oboe, as there are in a lot of other Broadway scores. Has this
become common?
-
Because an oboe is is no replacement for an English Horn. You can
usually find a good oboist that doubles. Certainly NYC wasn't worried
about it. (Don't you just HATE smart-aleck answers like this one!)
Perhaps you could rent your oboist an English Horn and a few lessons?
He/she would be most appreciative, I'm sure.
RBH
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