[Dixielandjazz] Fw: [TPIN] Subbing

[Bob Romans]

>From the "Trumpet Players International Network".
This could be very appropo for Dixieland musicians too, although playing in
a musucal is much different than jamming with a DLJ band!
Bob Romans
Cell Block 7
Home 209-339-4676
Cell 209-747-1148
www.cellblockseven2002.net
"Because I play trumpet, I envy no man!"
----- Original Message ----- 
From: "Chase Sanborn" <chase at chasesanborn.com>
To: "TPIN Submission" <tpin at tpin.dana.edu>
Sent: Sunday, May 23, 2004 6:32 AM
Subject: [TPIN] Subbing


> >  Jack Gale, one of NYC's top trombone players said, "It's a good thing
> that I'm a
> >  regular, because I'm not good enough to be a sub".
> ---
> > You have to fill the holes left
> > by someone who can play the show in their sleep (and sometimes does).
>
> True. Subbing into a long-running show is the hardest thing I've ever had
to
> do in my career.
>
> Here are a couple of relevant excerpts from Brass Tactics:
>
> ------
> SUBBING (General)
> Your initial contact with new leaders or gigs will generally come as a
> result of subbing for the regular player. It is an unwritten law of the
> business that gigs happen simultaneously, and sometimes a player becomes
> double-booked and must get a sub for one of the gigs (the lesser paying
one,
> of course). If you sub often enough and do a good job, you might
eventually
> become the regular player; jobs tend to flow from player to player over
> time. This brings up an important point: the other horn players are your
> friends and your competitors. This can be a tricky balance. You must get
> along with your competitors and play well enough that they will recommend
> you as a sub, yet not give them reason to worry you'll steal the gig.
>
> SUBBING (Theatre Pits)
> Pit musicians will want to get out of the show on a regular basis for gigs
> and for mental health, and will need subs (also called deputies or deps).
> The perfect theatre sub is somebody who sounds exactly like the regular
> player and has no other gigs, therefore is always available. This can work
> in the favor of someone who has just emerged on the scene, as long as you
> are truly qualified. Trust me, you don't want to be thrust into that
> position before you are ready. Subbing on an established show is one of
the
> most demanding tasks in the music business.
>
> A sub will need to attend at least a couple of performances of the show,
> sitting in the pit next to the regular player. He will probably take home
a
> copy of the book and possibly a tape to study. No matter how prepared you
> are, the first time playing a show is nerve-wracking. While you are
reading
> a million notes, trying to keep your eye on the conductor for the myriad
> tempo changes, those around you are on auto-pilot, barely looking up from
> their novels. You need confidence, nerves-of-steel and a thick skin. Once
> you are established, it can be a nice gig, as you don't have to play the
> show every night, but you'll get enough work to significantly boost your
> income. Plus, as the contractor gets to know you, he may call you for the
> next show.
> ------
>
> Chase Sanborn
>
> BRASS TACTICS http://www.brasstactics.net
> JAZZ TACTICS http://www.jazzztactics.com
> GR-CS MOUTHPIECES http://www.chasesanborn.com
>
>
> _______________________________________________
> http://tpin.dana.edu/mailman/listinfo/tpin
>