Re: jesus christ superstar guitar parts

Just thought I'd post a quick update...

Done 2 performances now and starting to relax (not that you can actually
relax during this).

I using the official score but it's covered with notes and reminders. For
sounds I'm a pod x3 live with piezo modded PRS adn fender twin - I think
I've got most parts covered although just use an acoustic sound for the
banjo bits.

It's been a real test for my reading, having to navigate all the sounds and
try to follow the conductor/MD - and having 3 keyboards and brass/wind
section alongside the bass and drums makes for interesting monitoring.

Good fun though and although it's only my 4th musical it makes a nice change
from the usual pub gigs doing the usual rockcovers I found myself performing
each weekend - looking forward to next years production already and hope
it's another challenging show.

Cheers
John P.



Penfold wrote:
On Sep 23, 11:11 pm, "ZPQ" <John at Pinchin dot karoo dot co dot uk>
wrote:
Hi,
I'm just about to start preparing for a production of Jesus
ChristSuperstar.

I'll be getting the score later in the week and although it'll be a
good exercise in improving my reading there are some parts that I
think I'll learn in advance.

If I recall correctly one or two regulars here have done this
musical in the past - any tips or notes that you may still have
would be much appreciated.

I have (somewhere) a photocopy of I /think/ both guitar parts. They
are /largely/ chord symbols + single notes, not tab, so you will need
to pick your chord voicings carefully, in conjunction with the other
guitarist.

Best advice I can give:

- Listen to the show. A lot. Get the recent DVD, as it has the
complete show in the version you're likely to be working from - soak
it up till you can feel all the starts and stops and time changes.
- Develop counting strategies for the tricky bits: my entry in the
overture, for example, was something like 1 (& 2 & 3 &) 2 ( & 2 & 3
&) 3 ( & 2 & 3) 1 (2 3 4 5)... and then into a bar of 4/4. There are
23 time signature changes in the first 72 bars of the overture, and it
doesn't get much easier.
- If you're playing with a conductor, learn to watch him, because
there are several places where there is NO drummer where it really
matters. There's also a couple of places where you may have to
negotiate with him to beat in your cue (there's one in, IIRC, Judas'
death scene, where I had to beg for a count in, as he was otherwise
expecting me and Andrew to play a fast descending riff in a different
tempo with no count....)
- You will come out of the first rehearsal wondering what the blue
shivery *** you let yourself in for. It /will/ work out in the end.
If /I/ can play it, most folks who get on stage at a NotWigan can,
given practice.


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