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CLINIC
FRANK GABRIEL CAMPOS, COLUMN EDITOR

SO YOU WANT TO BE A SHOW PLAYER…

BY PAUL GASPAR

October 2019 • Page 65

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 CLINIC
FRANK GABRIEL CAMPOS, COLUMN EDITOR
Clinic addresses a wide variety of teaching and playing issues. Ideas and suggestions should be directed to: Frank Gabriel
Campos, Clinic Editor; clinic@trumpetguild.org

SO YOU WANT TO BE A SHOW PLAYER…

BY PAUL GASPAR

P laying trumpet for a Broadway show seems to be an

increasingly attractive career choice for many
younger musicians. What is that life like? What does
it take to get such a job, and what does
it take to keep it? Here is what you “The video of your playing playing along with it. Learn and memo-
need to do to find a show, prepare for
it, and survive it. along with a recording must logue or the “jump-to” sections that are
Getting the gig. Like most pro - be pristine and as close as not in time or the groove. Mark things in
fessional musical engagements, show
work is highly competitive. Modern possible to the interpretation the recording, ask your contractor about
shows tend to use only one trumpet.
Look online for posted positions and
of the recording they sent.”
follow the instructions about the audi-
tion. PlayBill is the most common online source.1 It is also a
mass “cattle call,” so many players will be auditioning. The
video of your playing along with a recording must be pristine
and as close as possible to the interpretation of the recording
they sent.
Like any other audition, you might be the perfect player for
that part, but they may still go with someone else. It can be
valuable to have a one-on-one conversation with someone who
is experienced in this business to find out how they got their
gig. Whether it is a local production or a national/inter-
national tour, your reputation will precede you. Word of
mouth has worked well in my career.
The call. In many situations, the first time a musician gets
“the call” to play a show is for an emergency replacement situ-
ation. You need to be ready for anything. There is no time for
a rehearsal, and you just come in and play the show. If a con-
tractor has personally spoken with you but chose someone else,
make sure you have a copy of the book to include in your daily
practice routine. Remember that not everyone who gets hired
stays with the show.
Once you are hired, your priority is to be completely pre-
pared as a player and an employee—in good health and well
rested. Make sure your glasses/contacts have a new prescription,
your local work is covered, your gear is clean and in optimum
working order, and you have all of the required mutes and are
stocked up on oil and slide grease.
Prepping for the gig. Whether it is a local school district
performance or on Broadway itself, you must know the whole
show—not just the trumpet part. Acquire recordings and a
video of the entire show—not just individual musical numbers.
This way, you will know how quick some transitions will be,
especially when there are mute or double changes between
numbers. Knowing the complete show will help you learn the
© 2019 International Trumpet Guild
physical pacing of your part. If the book was sent in pdf, print
it out so you can mark it up. If it is sent via Dropbox, down-
load your part and recordings immediately. Listen to the show
and follow along with your part before
rize those awkward entrances after dia-
pencil as you go. If some parts differ from
the variations.
Practicing the book. Set up for the
show in your practice space just as you
will be in the pit. Here are some tips and considerations:
• Flugelhorn/piccolo trumpet/mutes. Keep them all very
close to you so they are right at hand. Orchestra pits are
usually a tight fit.
• Stand light. The show may be quite a bit dimmer than a
well-lit practice space, and the bottoms and edges of pages
can get “lost.” Practice the book with a stand light.
• Microphone. Put it in the spot that best suits you and
always point at it. In this position, can you see all of each
page of the music, as well as above the stand for the con-
ductor?
• Headphones. Wear them while running the book at
home. Your playing will feel and sound very different
with them on, and you will likely be wearing them during
the performances.
• Headphones cord. Keep it out of the way of your move-
ments to change instruments and mutes. I run the cord
down my back.
• Avions. These are units that allow each musician to adjust
individual mixes for the entire show, click track, and pre-
recorded music. Avions also allow you to have different
mixes for different songs by setting your own presets. I
highly recommend learning how to use these.
• Change doubles and mutes slowly. The most common
causes of damage to an instrument on the road include
violent mute insertions and hitting the instrument on the
music stand.
• Memorize conducted sections and practice awkward page
turns, cuts, segues, and mute changes. Show up to the first
rehearsal as though you have previously played a run of it.
• Keep all necessary supplies near your stand, including
pencils, Post-it Notes, scissors, a notepad (for questions
about parts), oil, slide grease, and water.
October 2019 / ITG Journal 65
 • Post-it Notes save a lot of erasing later. Color-coordinate
any mute and instrument changes, major “watch-the-con-
ductor” sections, stage cues, and fun warnings like “Move
mutes and horns off of the dancer’s trap door now!”
“Color-coordinate any mute and inst -
rument changes, major ‘watch-the-con-
ductor’ sections, stage cues, and fun
warnings like ‘Move mutes and horns off
of the dancer’s trap door now!’”
• Always count rests; never rely on just hearing it. If the
mp3s that are sent to you are from a soundtrack, most dia-
logue sections
will be cut, and “Count every rest in every
repeats may be
dif ferent from song in every show.”
your production.
Count every rest in every song in every show.
• Quick-cue breathing. Sometimes the conductor’s cue is
too quick for a breath, and trying to hold in a breath
awaiting the cue is not the best way. Practice the quickly
cued note on a teaspoon of air and then mark where you
can grab a fuller breath if the line continues.
• Play it safe. Tailor your playing to the way the trumpets
play on the recording—even if you don’t agree with it.
Note when articulations differ on the recording from the
written part. The recordings are usually done with pre-
ferred players, and most shows are not looking to deviate
by much.
• Ad-lib solos. Learn the written solo and practice it as close
as possible to the way it is recorded. In many cases, the
choreography on stage is based on it. The conductor usu-
ally lets you know if it is okay to improvise. If it is not
written out, borrow liberally from parts of the recorded
solo, especially the beginning of the solo.
• Underscore. Generally, trumpets don’t play under dia-
logue. However, if you do, always err on the side of play-
ing too softly.
“No excuses will be acceptable, including
a barely legible practice copy, no
recordings, bad page turns, impossible
mute changes or doubles, and sometimes
all of the above at once.”
Running the show. Play the show once per day for five to
six days per week with the recording, in headphones. Unless
you have played that show extensively in the recent past, you
need to be able to nail everything by the first—and usually
only—rehearsal. No excuses will be acceptable, including a
barely legible practice copy, no recordings, bad page turns,
impossible mute changes or doubles, and sometimes all of
the above at once. Remember that if you agreed to play the
show for any wage, including pro bono, you are still account-
66 ITG Journal / October 2019
able for all of this. Otherwise, it is best to turn the offer
down. Word of mouth will not be kind if you do a poor job
for any reason.
On the road. Tech week is when the show is blocked and
staged for the very first time to work out the bugs, set the light-
ing and mics, and, yes, the orchestra is required to be there the
entire time. A day lasting from : a.m. to : p.m. is not
unusual. The Opening Day in each city can look something
like this:
• : a.m. – : p.m. Rehearsal. Always arrive at the
venue via the stage entrance door at least thirty minutes
early.
• : – : p.m. Sound check for the orchestra and cast.
This might include a “sitzprobe,” which means a run of
the entire show in order without the dialogue sections
between all of the songs.
• : – : p.m. Media time. This means we run three or
four of the show’s biggest or most iconic numbers.
• : p.m. Showtime!
Performance notes
• Count all of the rests for every song in every show. Be
ready for tempo changes and cues to be different every
night.
• The band must never “upstage” the actors or show unless
it is specifically noted. Oftentimes the band showcase is
relegated strictly to the overtures and exit music.
• Most shows prefer, if not insist, that you let the mic do all
of the work. They prefer a trumpet considerably lower in
the mix than in a big band or orchestra. Trumpets and
drums are the hardest to contain, and the drummer gets a
Plexiglas cage. Always err on playing too softly and be
ready to be told that even that is too loud.
• You must always play in time and in tune, with precise
rhythms, note accuracy, and clean articulations. You must
follow the conductor incredibly reliably and make sure
you have sufficient control and endurance for eight shows
per week for weeks on end. In the final analysis, these are
the things that go the furthest with all contractors.
• “Broadway Swing” won’t swing as deep as Basie most of
the time. You have to know the Broadway style and go
with it. Again, refer to the way the trumpeter(s) play it on
the recordings. Don’t bend, scoop, or fall off any notes
unless they are written or unless the conductor instructs,
especially during vocal sections.
• Pacing and endurance on a road gig is where all of your
practicing and prep time is put to the test. A gig on the
road is not very musically diverse compared to all of the
freelance work you play at home. Strengths get stronger to
a point, and weaknesses get weaker. When the weaknesses
are your foundation, that is when troubles begin. Your job
is to play a consistent show every time for the entire tour.
Play as easily and relaxed as you can, but not “carefully,”
which makes you hesitate.
• You won the audition on the equipment you currently use,
so start with that and hopefully stay with it. It is normal
to need to change to something larger or smaller or to a
different shape or brand as time goes by; but that may
only ease—not solve—road face issues. I have seen gear
changes make things much worse all the way to saving
players and having them playing their best ever.
© 2019 International Trumpet Guild
 • You must have all mutes specified in the score, with the
possible exception of hat (derby) and bucket. Check with
the contractor.
• The longer a show runs, the more “spacing out” can hap-
pen. Sometimes a player will turn over a tacet page and get
ready to start the wrong number or perhaps start the num-
ber muted when the part should be open. Nonverbal com-
munication is best, but it might require a tap on the
shoulder or a whispered “not yet!” Keeping an eye on each
other is good professional etiquette.
• “Road face” and embouchure problems. When I get calls
from excellent musicians on tour who are in trouble, it
almost always starts with, “Everything was going really
well, when all of a sudden…” Then we talk and set up a
video lesson. The road can bring problems to even the
most experienced player, and I have written a book on
helping with this.2
“When I get calls from excellent music-
ians on tour who are in trouble, it almost
always starts with, ‘Everything was going
really well, when all of a sudden…’”
Lead and section playing. The lead trumpet is often the
most exposed and important single voice in the band, and vir-
tually all the big trumpet solos and lead parts are in the first
book. The conductor is accountable to the singers, dancers,
producers, and directors for the balance they want from the
musicians, and the lead must bend to the will of the conductor.
It is the lead’s job to correct the section, making sure to know
everything the conductor wants and to communicate that to
the section with the utmost respect.
The second trumpet gives balance and support to the lead
trumpet, interpreting the music exactly as the first player does.
The lead may want the second way down in the mix as part of
the harmonic texture, or the lead may need something sub-
stantial to “sit on” when there are higher parts susceptible to
“clams.” The second should count rests with a subtle hand ges-
ture on the knee when crossing new rehearsal numbers/letters.
On longer runs, the second should be able to cover all of the
lead parts. This is the best situation, because the second player
knows what the conductor wants, is already known for reliabil-
ity, and has less of a chance of throwing things off.
The third trumpet must observe all of the above and is often
a sub for the lead player so that the second player can keep
playing the same part for the sake of consistency. In addition,
it is much easier to sub out a third player than a lead or second.
Substitute players. Once you have been hired as the main
player on your part, it is your responsibility to have a qualified
sub lined up, unless instructed otherwise. You will need a few
reliable trumpeters to agree to sub if available. They will need
a copy of the book, recordings, and any important perform-
ance notes, such as blackouts, memorization, choreography,
and other surprises.
Survival notes
• In order to survive and thrive in this high-stress envir-
onment, one must be prepared personally with good
© 2019 International Trumpet Guild
daily habits that contribute to physical and mental
health, such as a balanced diet, regular exercise, and ade-
quate sleep. Stay clear of things that will make you sleepy,
unfocused, or nervous. I have learned to avoid caffeine,
alcohol, gluten, unrefined carbs, and greasy foods before
higher-stress shows.
• Be low maintenance, but if something is unsafe, in vio-
lation of your contract, or you are being harassed, report
it to your music director.
• There are no designated practice rooms for trumpeters,
despite the fact that there are such for dancers and singers.
Trumpeters are on their own to find a place to warm up
and practice. Just because we are part of the show and
authorized to be in the venue does not mean we can go
anywhere to practice. Use a practice mute and get to the
venue early in the day. Use the band’s dressing room when
you need to practice without a mute.
• It is a rule of the road that you will lose and/or damage
your things on a road gig. This can result in the occa-
sional emergency when it is your instruments and acces-
sories. The principal trumpeter of the local symphony is
a good person to ask about the best repair person in
town or the shops that sell horns, mouthpieces, and
mutes. You won’t always have music stores nearby with
products you need or be in one place long enough to
have them mailed to you.
• Always check the call board, usually located near the green
room, to verify show times and dates. Itineraries are sub-
ject to change. Show times and travel dates may change.
Each venue books times and dates differently.
• First and foremost, you are an employee. Don’t let the
repetitiveness, difficult egos, and strong personalities get
to you. Management wants reliable, professional, diligent
employees with even temperaments—not moody, temp-
eramental, or difficult artists. A bad situation can drag
you through hell if you take things too personally. Like
any job, if there are issues that need to be discussed with
the conductor or management, do so according to the
company’s protocols.
“Management wants reliable, pro fes -
sional, diligent em ployees with even
temp er a ments—not moody, tem per a -
mental, or difficult artists.”
Traveling by air. Many rules have changed when flying
with musical instruments. It is easiest when you need only a
B-flat trumpet and maybe a piccolo trumpet. Flugelhorns take
up a lot more space. Many airlines limit passengers to one
piece of carry-on luggage, so invest in the smallest case with
the most protection. You can also wrap an instrument in bub-
ble wrap before you board and fit it under the seat in front of
you. Pack extra underwear, socks, a black shirt, and black
slacks in that same case or wear them on board. Should the
airline lose your checked luggage, you can make it for a couple
of days without it.
Continued on Page 69
October 2019 / ITG Journal 67
 to announce that you are home and available for gigs.
Call the contractors or band leaders and speak to
them—don’t just leave a message—and keep track of all
of your calls.
• Most road gigs pay you slightly in advance—usually on
day four of a seven-day week. This means there is no pay-
check awaiting you when you return.
• All road gigs end or have extended layoffs. In the United
States, if the run lasts thirteen consecutive weeks, you are
entitled to collect unemployment compensation; but the
touring company or contractor will not necessarily tell
you this. In most states, it is fifty percent of your earn-
ings over thirteen weeks, divided by thirteen—or a max-
imum amount, whichever is least. It will take three
weeks before that first unemployment check arrives, so
make sure you have at least one month’s earnings saved
before the tour ends.
I hope this information is of use and benefit to you. So
much of it was learned the hard way. I wish you good luck!

About the author: Paul Gaspar has been the principal

trumpet of the West Side Story International Tour since .
He has extensive international experience as a lead trumpet,
jazz soloist, conductor, composer, arranger, and pianist. He
is a former guest principal trumpet with the Teatro San
Carlo Opera Orchestra in Napoli and the Tel Aviv Opera
Orchestra. He has given brass clinics and improvisation
masterclasses nationally and internationally. Paul and his
Clinic continued from page 67 wife, Katrina, currently reside in Rochester, New York.
Additional infor mation may be found on his website
Road considerations (http://www.PaulGaspar.com).
• Be well rested the  hours before you leave for the gig
and avoid chasing errands the day before. Endnotes
• If your show plays one week per city with eight shows per 1 PlayBill, http://www.playbill.com/job/listing.
week on Tuesday through Sunday and then leaves for the 2 Paul Gaspar, Daily Method & Rehab for Trumpet (Self-pub-
next city, the travel day is your day off. Often you will lished, http://www.PaulGaspar.com).
arrive in the next city after most places are closed. When
this happens for weeks on end, you might feel like you are
getting no time off.
• Stay hydrated, eat healthily more often than not, be well
rested, exercise, walk a lot, and understand everyone will
get touchy.
• You must practice those techniques that the show does
not cover, or all of your skills will go downhill. I do
three days per week minimum—usually Wednesday,
Thursday, and Friday. If a gig awaits you when the tour
ends, make sure you can hit it with all skills needed
right off the bat.

“Make sure you have work waiting for you

when you return home. Do not trust
social media, emails, or texts to
announce that you are home and
available for gigs.”
Returning home
• Make sure you have work waiting for you when you
return home. Do not trust social media, emails, or texts

© 2019 International Trumpet Guild October 2019 / ITG Journal 69