From Ande Jacobson, Musical Engineer

(source: https://agoodreedreview.com/2012/12/24/pit-musicians-commentary/)
 “The musicians travel a very different path from the actors. Theatre music is often challenging, and the pit
musicians usually have far less time than the actors to learn their parts.”
 “[Pit musicians] are required to bring with them technical skills that take many years to acquire that allow
them to master their parts almost entirely on their own. Their limited instrumental ensemble time is
reserved for coordination and synchronization, not for learning their parts.”
 “[Pit musicians] have to be ready to step into the forefront for an exposed and/or difficult passage. They
have to play it with appropriate expression, precision, and life, but then they have to immediately fade
into the background still playing with great precision and accuracy providing critical subliminal
emotional impact rather than being overtly noticed by the majority of audience members as they support
the stage action.”

How Berklee College of Music Defines a Qualified Pit Musician

(source: https://www.berklee.edu/careers/roles/pit-musician)
 “Requires music reading skills, the ability to synchronize with a group, and near-flawless playing”
 “Pit orchestra musicians are often asked to play multiple instruments. A reed player may be expected to
double on clarinet, flute, and saxophone, for example, or a guitarist to handle ukulele, banjo, and
mandolin duties on top of acoustic and electric guitars.”
 “Rehearsal time tends to be quite limited for pit orchestras and practice sessions are often largely devoted
to coordination and synchronization with the performers.”
 “Most pit orchestra musicians are consistent, high-level performers trained in conservatory and university
music programs.”
 Professional skills needed:
5. Deep instrumental proficiency 1. Collaboration
6. Multi-instrumentalism 2. Reliability
7. Reading music notation 3. Flexibility
8. Wide repertoire 4. Networking

 “Pit orchestra musicians are expected to master their parts on their own time, a task which requires time
management and organizational skills.”

From Michelle Barraclough, Professional Flutist and Adjunct Flute Professor at Lebanon Valley College
(source: http://thefluteexaminer.com/michelle-l-barraclough-down-in-the-pit/)
 “In the case of high schools, you may be playing alongside students. This can be a terrific opportunity to
mentor younger players and possibly develop some contacts for potential private students, if you teach.”
 “Music can be distributed to the orchestra anywhere from 2 months to only a few weeks ahead of the
performances. Since music is generally rented for a limited amount of time, you will likely have to budget
your practice time carefully to fully learn a show.”
 “Make every effort to know your part very well before the first rehearsal, because rehearsals will be
limited in number and the focus will mostly be on putting the parts together to form a cohesive whole.”
 “You may also have a chance to get to know members of the orchestra…they may be the people who lead
you to your next gig…developing positive relationships is a must if you want to continue to play [in your
area].”
In Review
 High school students are used in the Pit Orchestra where possible, but many are not ready to read this
music. These books are coming straight from Broadway, and most students are not equipped with the
skills needed to do so accurately. Throwing students into this situation when they are not ready only
sets them up to fail.

 Many of the books in a pit orchestra, particularly those for reed instruments, require the musician
to play more than one instrument. While many of our students are relatively proficient at their primary
instrument, the same can not often be said for secondary instruments, again meaning we would be setting
them up to fail. Trying to compensate for this by splitting the book between two players not only requires
finding two (or more) incredibly proficient musicians, but makes the musicians playing the book need to
be at many rehearsals where they may or may not feel like their time is even valued.

 To get high school students to be playing at the caliber of professionals, much rehearsal time would be
needed outside of the regular school day (so as not to interfere with regularly scheduled
classes/rehearsals). It can not be assumed that high school students would be available and willing to
dedicate that amount of time to something they are not being paid to do or given any class credit for. In
addition, a stipend would be needed to be given out to the director for the additional time required to
prepare for these rehearsals and run them effectively. It is more time efficient and cost efficient to hire
professionals who will come to the very first rehearsal knowing the book.

 While there are many students that are relatively proficient at their instruments, not all of them feel
compelled to take the initiative to pursue music further after graduation and make connections with
professionals who will help them do so. Giving students who are capable and who want to be there
the opportunity to play alongside professionals in the area will teach them so much about what it
means to be in an ensemble of this caliber.
o Likewise, the professional musicians who play in the pit orchestra now know about the school
and the music program that they are playing for; they will be able to vet for the program if need
be, and when networking with other professionals it is then more likely for them to say something
good about the program. Hiring professional musicians gives the district and the program a
good reputation.

 Allowing the quality of the orchestra for the sake of filling it with high school students could be
detrimental to the students on stage who dedicate so much time to perfecting their craft; those students
need to be hearing consistent instrumentals every single night, and many high school students can not be
depended upon to provide this. If the orchestra struggles, then the members of the cast suffer.
o If the music, and subsequently the singing and acting, are at a lower level than our audiences are
used to and expect, they will not be as willing to attend future productions. This could negatively
affect not only the reputation of the program, but also ticket sales and revenue brought in to the
program.