I’ve heard and lived my share of gig war stories, but this was a new one on me–they let the audience control the lights.  Never expected a rave swing dance.  It was particularly difficult to take down the stage afterward while being plunged into darkness at random intervals.


I’m so happy to enter a season where I see light when I arise.

Warming up the piccolo for Easter–Hallelujah Chorus as usual, and some sort of voluntary.  For the Hallelujah, in the part where I’m in unison with the voices, I like bell tones.  My goal is to add color but not cover up the voices.  It’s a bit tough since the key to understanding words is the consonants, and that’s right where I’m making noise.  One thing I can do is use the same syllable–kuh-tonguing on “King of Kings”, etc.–but that only goes so far.  Generally I follow the rule of “if you aren’t moving, back off”.  I think I’ll do more of an attack on the long note before the five descending notes that are really the only reason they hire a trumpet.  Usually I sneak in so that the audience can’t be sure exactly where the note started, growing from nothing.  This year I’m going to do a forte-piano, accenting for an entire legato beat and then dropping back before crescendoing to the descending line.  That will be more dramatic, and there’s nothing going on for that first beat anyway…