Sub Work

[Eric B]

Can anybody post suggestions on how to be a sub player in an orchestra? I was in the Texarkana Symphony Orchestra for two seasons until I moved and I miss the experience terribly. I am an easy drive to the Dallas/Ft. Worth area and Tyler. I know there are occasions when a tubist cannot play and I was curious how subs are selected. Does the tubist recommend somebody or is there an audition in advance to determine these players? I have kept my chops up through playing in smaller groups. Please send a PM if you have an opportunity that fits the bill. Thanks!

[Dylan King]

Make friends with the players.

[Tom]

I make a living as an arts administrator with an orchestra.

Sub list / Extra Musician Advice for all:

The very first thing to do is ask yourself if you play well enough to hold your own in the given ensemble. Be honest with yourself. I'll proceed as if the answer to that question is "yes!"

The first thing you need to do after your playing is up to snuff is join the Musician's Union. This is simply because most orchestras require Union membership of their musicians (including subs and extras) as part of their master agreements (i.e. CBA). In my orchestra, I cannot hire you unless you are a Union member. Yes, it can be expensive, and no...I don't have any control over that as an orchestra administrator.

Once you are a Union member, get in touch with the Personnel Managers of the ensembles in your area. Do not call them on the phone...mail (to their attention) a SINGLE PAGE resume that includes information on your education, primary teachers, playing experience, and 3 references. Please do not send us a book of a resume. We don't need a list of all of the repertoire you played in college. Do NOT send a unsolicited recording...it will not get played and wil end up in the trash. We get way too many solicitations, audition requests, calls from agents, etc. to bother with anything more than a single page resume. While we're on the subject of resumes, be precise and DO NOT LIE OR PAD YOUR RESUME WITH INACCURATE INFORMATION! If you get specific instructions from a Personnel Manager, follow them! I cannot believe how many people request information, submit materials, etc., and then fail to follow instructions on how to proceed. That is a sure fire way to NOT get hired.

Getting to know the orchestra members is paramount as well. Section principals usually have tremendous influence over who gets hired as a sub or extra, and not just on your instrument. I've gotten referrals regarding percussionists from flute players, for example. You never know who is watching and listening to you!

The following things are absolutely essential for getting a gig (and keeping the phone ringing in the future):

-Be on time. NO EXCEPTIONS AND NO EXCUSES. This is about as important as how well you play and is the number one rule for a sub or extra musician. Leave yourself enough time for traffic, weather, tire changing, etc. You have exactly one shot. In my orchestra, you get one chance to prove yourself. If you have issues with sticking to a schedule, you will NOT be hired in the future. Period.

-Be prepared. Do not let your lack of planning become some else's emergency. Check to make sure you grabbed the right horn, have a mouthpiece, have your folder, have a pencil, etc. KNOW YOUR MUSIC COLD and come in ready to do your job. Work out any questions or problems BEFORE rehearsal starts. Do NOT, under any circumstances, bring rehearsal to a grinding halt for YOU.

-Be professional. Follow the instructions of the Personnel Manager with regards to dress code and call times. Arrive prepared to do your job, and don't forget that you are a sub or extra and that it is not your place to instruct or critique others. That said, you need to be open to suggestion and criticism from others. Do not hot dog around onstage and play VW or try to belt out "the Ride" unless it is in your folder. Do not argue with anyone and do not make rude remarks or jokes about patrons/orchestra members/the conductor/other organizations, etc. Do not discuss politcs or religion. After the service, thank the Personnel Manager and go on your way. Be gracious to everyone, even when they call your tuba a trombone or a trumpet. You want people to like you and want to be around you. Even great players that are jerks don't get hired. Be nice.

Do not pester Personnel Managers. If they say "no," let it go and try again next season. Do NOT try to go over their heads, because they are the ones that hire, not the Music Director or any other musician in the orchestra. Keep an eye out for sub list auditions or "informal playing demonstrations." Likewise, submit materials for any "official" opening there is, as the sublist is often takes in to account recent audition results. Different orchestras operate different ways, but that is generallly how it works.

[Tom]

Folks, Wade's advice is spot on.

Read my post, then read his post. Everything you ever wanted to know about auditioning for and being a sub/extra is here.

[TubaRay]

Yeah, I just read yours and it seemed to pick up on all that I failed to think of. Maybe together we would make one perfect person? Heh, heh, heh…

well.........

[TubaBobH]

Tom and Wade's advice is spot on for anyone looking to be hired by any organization, not just a musical organization -

-- Get your name out there (network)
-- Be on time
-- Know you stuff
-- Be honest
-- Be courteous
-- Act professional

I have hired (and unfortunately had to fire) a lot of people over the years, and the above "rules" would serve a lot of people well.

[tubashaman2]

.

[Tom]

To quote:

"It is better for you NOT to take the audition, than to take the audition and put a bad foot in the door. This could even effect gigs and auditions several years down the line."

As Wade said---personnel managers change. Many of these players for regional symphonies play for a couple places...waiting to have a solid audition will make you look better, and you won't waste the panel's time or ruin your name.

To clarify and confirm a couple of things based on tubashaman2's post...

Auditions cost the orchestra money. The candidates might not realize this, but everyone on the committe is paid to be there, the stage hands are paid to do any setup that might need to be done, and lots of time is invested by the orchestra's staff to coordinate and administer auditions. Listening to just 10 people can easily cost upwards of $1000. The last thing we want is to feel like we wasted a ton of money listening to people that have no business being there, which is why resumes are required and invitations are issued to those with the best skill sets available to us.

For "cattle call" auditions for subs and extras, the candidates are harder to regulate, but there is a defined amount of time set aside for these sorts of auditions to help keep the orchestra's costs under control.

I was very serious in my first post in this thread when I said the first thing to do is to ask yourself if you play well enough. I know this all sounds very vague and subjective, but keep in mind (just like tubashaman2 says) you can do a lot of damage by stepping up to the plate before you are ready. Please don't waste our time and money, either.

Personnel Managers talk and occasionally consult one another about who's who in town. A bad audition could cost you not only the original job, but all of the others in the area too. People can say what they want about that not being "fair," but that's how it really works, and is especially true in areas with several "smaller" orchestras, where the core membership could be the same in as many as 4 or 5 different groups. Moral of the story...be prepared and play your best.

Regarding changing Personnel Managers...

Don't think that just because there is a new Personnel Manager at your given orchestra that your slate has been wiped clean. Records are passed from PM to PM. Section members and Music Directors rarely forget a bad experience and will be sure any PM knows about them, too. No, it does NOT hurt to submit a current resume once per season or when a PM change occurs, but remember that your past performance (especially if it was "bad") won't just slip through the cracks when a new PM comes on.

[Eric B]

I think this thread will be a great asset for those search on help on the subject. You can't beat the writings of an arts administrator and a professional tuba. Thank you, Tom and Wade, for sharing your expertise and experience with the tuba world. I also received a very helpful PM from Alex C that was helpful for my specific locale, East Texas. I had a blast in my two years with the Texarkana Symphony and I would love another opportunity in my new area, even if it is in a substitute role.

[tbn.al]

I think this thread will be a great asset for those search on help on the subject. You can't beat the writings of an arts administrator and a professional tuba. Thank you, Tom and Wade, for sharing your expertise and experience with the tuba world. I also received a very helpful PM from Alex C that was helpful for my specific locale, East Texas. I had a blast in my two years with the Texarkana Symphony and I would love another opportunity in my new area, even if it is in a substitute role.

Doesn't Longview have an orchestra?

[Eric B]

Doesn't Longview have an orchestra?

Yes.

As a matter of fact, the East Texas SO in Tyler is the closest at 45 minutes. Mesquite is the next closest at an hour. I think there are a 7 or 8 regional symphonies within a 90 minute drive, including Longview. I was compelled to resign the Texarkana SO when we moved. I have a 10 and 3 year old and I'm in the ministry. Texarkana is 3 hours away now, too much of a stretch for me, although I knew of several who used to work with us who came from Dallas (3 hours) and even Fayetteville, AR (5 hours).