How to Win Orchestral Sub and Extra Work That Leads to a Full Time Position

Most full-time orchestra musicians did not land their position cold from an open audition. Many of them first built relationships through years of substitute and extra work, proving themselves one service at a time. If you are a freelance string player hoping to turn sub work into something permanent, there is a strategy to it that goes far beyond just playing well. Here is how to approach sub and extra work like the career investment it truly is.

Say Yes to Everything in Your First Two Years

When you are building a reputation, availability is almost as important as ability. If a personnel manager calls you at 4 PM for a rehearsal the next morning, say yes. If the gig pays less than you would like, say yes. If the repertoire is something you have never played before, say yes and then go learn it tonight. Personnel managers keep mental lists of players who are reliable and easy to book, and being on that list is worth more than any single paycheck.

I know a violist who subbed with a mid-tier regional orchestra for three seasons. She said yes to every call, even the ones that required a two-hour drive each way. When a full-time position opened up, the music director already knew her playing, her work ethic, and her personality. She won the audition, but she had already won the job in every way that mattered long before the screen went up.

Prepare Like a Principal Even When You Are Sitting in the Back

When you receive the repertoire list for a sub week, prepare every excerpt as thoroughly as if you were auditioning. Listen to the orchestra’s own recordings if available. Mark your bowings to match the section before you arrive. Know the style preferences of the music director. If the program includes Mahler Symphony No. 5, study not just your part but the full score so you understand how your line fits into the larger texture.

This level of preparation is noticeable. Section leaders and principals pay attention to who shows up having done their homework and who is sight-reading in the first rehearsal. Your goal is to make the section leader’s job easier, not harder. When you achieve that, they start requesting you by name for future weeks.

Master the Social Dynamics of the Orchestra

Sub work is a social audition as much as a musical one. Arrive early. Introduce yourself to your stand partner and the section leader. Be friendly but not intrusive. Do not offer unsolicited opinions about the conductor, the repertoire, or how things were done at other orchestras you have played with. Listen more than you talk. At breaks, make genuine conversation. Ask veteran members about the orchestra’s history or upcoming season. These small interactions build the personal connections that lead to recommendations when positions open up.

One thing to avoid at all costs: complaining. Even if the rehearsal schedule is grueling, the hall is freezing, or the conductor is difficult, keep your frustrations private. Permanent members notice subs who handle tough weeks with grace, and that reputation follows you in all the right ways.

Follow Up Professionally After Every Engagement

After your sub week ends, send a brief email to the personnel manager thanking them for the opportunity and expressing your interest in future work. Keep it short and professional. If you connected with the section leader or principal, a quick message saying you enjoyed playing with them goes a long way. These follow-ups keep you in mind for the next opening and demonstrate the kind of professionalism that orchestras value.

Know When a Sub List Can Lead to an Audition Invite

Many orchestras have an internal sub list, and players on that list sometimes receive invitations to audition before positions are publicly posted. Being on the sub list also means the committee already knows your playing, which provides a psychological advantage in the audition. Your job during sub work is to make such a strong impression that when the position opens, multiple people in the orchestra are advocating for you behind the scenes. That kind of internal support is the hidden advantage that turns a competitive audition into a winnable one.

Ethan Kim is the founder of Orchestra Kingdom, helping string players win auditions and move up in their sections. Follow him on Instagram, TikTok, and YouTube for daily tips.