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Pippin - Sean Ritenauer

Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.

Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.

“I am so thrilled to be a part of this extraordinary revival of Pippin. Thanks to our fantastic orchestrator, Larry Hochman, the percussion book is quite busy and a lot of fun to play. It’s a relatively diverse part that includes orchestral playing (xylophone, glockenspiel, timpani, etc) , groove/pop percussion (congas, bongos, tambourines), and a nice djembe and drum set feature that I play with Jared Schonig. As a percussionist one is inevitably linked with the drummer and I can’t imagine a groovier more consistent player than Jared.

Probably the most obscure part of the book is a tune where I don’t use a score at all. I have a whole routine of sound effects in quick succession that go directly with acrobatic and circus tricks happening on stage. I have two video monitors of the stage in my setup to make this all possible. (see photos above)

There were two distinct challenges while preparing the book for the first performance. The first was figuring out the setup. The Music Box is a small pit and they really wanted to try and fit in the entire band. I wasn’t sure this would happen but thanks to the creative carpenters we maximized the limited floor space by mounting a triangle (Miller Machine hype!), wind chimes, steel plate, bell tree, stick tray, and a bass drum on the wall. After that things just fell into place. The second challenge was working out the sound effects for the circus tricks that not only sounded appropriate but also were logistically possible in quick succession.”

Sean is a proud endorser of Pearl/Adams Percussion.

Sean's Broadway Credits.

Pippin - Broadway - Sean Ritenauer
April 2013 thru January 2015

Sean Ritenauer's percussion setup for the Broadway revival of Pippin at the Music Box Theatre.

"Conducting a National Tour is incredibly challenging, but so rewarding. Stepping on to the podium with a new orchestra every few weeks really keeps you on your toes. Every player responds differently so you are constantly adjusting to get the desired result. I would compare it to playing a multi-percussion piece where the instruments are constantly moving."
"After a grueling four years at SUNY I still had one theory class left to finish. I was really depressed. A classmate of mine recommended me for a tour of a Broadway show. This completely changed the course of my life."
"When I first got the call to start working on Ain’t Too Proud - The Life And Times Of The Temptations, I was curious about which era the show was going to focus on. Their career began in the early 1960’s and they’re still releasing albums today."
"The timpani tunings are the real challenge of The Little Mermaid. Changing pitches must be done by feel, that was my biggest challenge. Memorizing the mallet parts was also very necessary."
"As you can see in the pictures, I prefer to have as much 'stuff' right in front of me, as close as possible. Because there are so many instruments close in, I have mounted a music stand off of the tom mount.
"Different from the tour, the original Broadway production had acoustic drums, an acoustic set of timbales, and an acoustic tambourine - the tambourine is now programmed in the SPD-SX."
  • 2 min read

Gene Krupa's drum solo from "Gene's Blues" from the album Gene Krupa and Buddy Rich released November 1955.

Steve Jordan's drum solo from the title track of the album Casa Loco.
Robbie Ameen's drum solo from the track "Spring Fling".

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