Bellfront Pippin

As you already know, Spring means pit gigs.  I love pit gigs.  It's a guilty pleasure, plus I like the added bonus of money.

Already I've played in a production of "Oklahoma," which was a surprisingly easy book.  Next up I playing in Christ the King's production of "Pippin."  If you recall, CtK did "Phantom" last year.  "Pippin" marks my fourth show at CtK.  What makes these shows so cool is that they hire FULL PITS, so I get to play with some of the best musicians in Queens.  I get to make great contacts, plus I get to play a show!

The pit for "Pippin" is smaller than usual.  There's only 4 brass -- 1 trumpet, 1 horn and 2 trombones.  Also, the hall is a freakin' cavern.  Add to that some electronic instruments (2 keyboards, guitar and bass) and a HUGE cast with body mics, and we four brass are getting swallowed.

Now, the horn book is mostly mid-range, so there's no high screechy power playing.  So I pose to the conductor that I have "directional" instruments that may project better.  Her interest was piqued.  So, at the last rehearsal I show up with my Yamaha YHR 302M Marching Bb French Horn.

Long story short, she LOVED it.  It projected enough but not too much, and it blended well with the rest of the brass.  So now I'm playing the show on a bellfront Bb horn!

Here's the first cool thing about this: This is the horn I want to be playing.  Remember, I don't like the French Horn because it's a beast to play and it doesn't blend with anything.  This horn blends with brass EXTREMELY well, and it doesn't cut like a Mellophone.  Second, when I finally form my dream brass quintet, this is the horn I'll be playing.  So I get to give it a good shakedown.

But here's the oddity: over the years, as a horn player AND Mellophone player, you really separate what you do with your left hand as opposed to your right hand (get your mind out of the gutter, please).  Left is for Horn, Right is for Mellophone.  Now, factor in the years it took me to get used to Bb horn, then switch hands .... instant brain fart.  So it takes a little more concentration as it's not natural yet.  Plus, it speaks differently than the French Horn, so that takes some getting used to as well.  (On top of that, the high register is a little squeaky, but with some strong gut support, I can make it sing.)

I don't think the audience will notice anything.  The other brass players instantly see how it blends better.  I get some confused looks from the woodwinds, but they got over it quickly.  But the conductor is very happy, and so am I.