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The Art of Subbing

By Ray Von Rotz

I have been fortunate to have had pretty steady work during my years in Nashville. Much of that work has been steady gigs with one person or in one place, such as the Opryland theme park or Boots Randolph, who had a nightclub in town for many years. However, there are always going to be scheduling conflicts if you perform with different groups. This brings with it a serious problem. You must have a competent sub to take over for you when you are not there, and at least in all the jobs that I've done, that chore is left up to me!

No matter how involved or simple the show is, finding a sub that can cover your job can be quite a challenge. I've actually lost a job because I could not find a sub that could do the show well, and this was a show where the music was simple basic country drumming, much of it being stick and brush! How can you screw that up? I take finding a qualified sub very seriously, because in essence, the drum or percussion chair is my responsibility whether I'm there or not! I'm "managing" my position. So the question is, what is expected of a sub drummer and how can one prepare to do the best job possible? Since I also have subbed for quite a few other people, I can tell you what I do when I'm subbing for a show and what I expect when I hire someone to sub for me.

First you must realize one thing. You are not there to show off. You're there to play the job as if the regular player was there. There will always be differences in style between 2 players, but in most cases, the full time player has the gig because the band/show/artist likes the way they play. The regular may have been picked from a list of guys through an audition. He/she has had time to explore the tunes after rehearsing and playing them several dozen times and probably has come up with a style that the group wants. They are used to hearing a certain volume or certain licks. If you try to play radically different, or too fancy, or try to change things to suit you, you probably won't be back. There ARE certain situations that allow more freedom than others, such as a jazz gig where you're expected to be creative! Many casual jobs just need you to know the tunes and grooves and keep good time. You can improvise a little more as long as the groove is there. However, some groups want you to play the arrangements a certain way. When in doubt, ask the regular or the leader what's expected.

Each situation is different. You could be subbing in a bar band, or doing a casual for someone. In that case, you probably will be expected to know general arrangements of songs, and be able to play different styles. Ask for or make a tape of the group to listen to. If there are no charts or recordings, experience comes in handy. If a song is called that you don't know, ask what the groove is. Hopefully at least one person can tell you it's a 2 beat, or a 4/4 shuffle, or straight ahead rock, or swing, or Latin, etc. . . The most important things here are YOUR EARS! Listen to what is happening with the music. Play with the other musicians in the group. If you know the music, play rock solid time. If not, try to nail the tempo down from the count off, but don't be so stiff as to not adjust to the band if count off was a little fast or slow. Then hold it there! Fit your groove to that of the bass player and play with him. Look and listen for the endings. It could be a standard ending. If it's not, hopefully someone will be able to give you a visual cue as to what beat the song will end on, or whether they will hold out the last note or cut it off, etc. . .

Then there's being hired to sub a show. It could be an artist, a Broadway style show, or any kind of show where there are charts and involves a number of people such as singers and dancers. The parameters change dramatically. There will be less room for improvising and there might be actual written parts that you'll be expected to play. The absolute number one priority when subbing a show is preparation. Don't sub for someone if you don't have the time to learn the music you'll be playing! Many times, there will be no rehearsals involved, so you have to nail the show the first time! To do that, you must know the tempos, especially if there are "brick walls" where 2 songs or grooves are connected together and there is not time for a count off. You need to have the charts and a recording to practice with at home before the date. Spend the necessary time going over these spots so you can do them without any guess work!

If the horns/dancers/singers are used to hearing a certain lick or groove, especially if it sets up an entrance, DON'T TRY TO BE FANCY! Play either what the regular does, or what's written. I've had numerous subs try to put in their interpretation and the cast or band/orchestra come back to me complaining! Once you get a few shows under your belt, you'll have a little more leeway to do your own thing because you'll become more familiar with what's involved.

Of course you must show up on time, dressed correctly with the right equipment and a professional attitude. Of equal importance, is having the confidence in your playing. Preparation will take care of that. Now all you have to do is do all these things and still play with feeling! If you take the time to learn a show or gig and come in and do a great job the 1st time, your name will really get around and it will turn into other gigs for you down the line! Good luck.

For 25 years, Ray Von Rotz has been performing and recording with a wide variety of groups and artists out of Nashville, TN. They include Boots Randolph, The Mills Brothers, Englebert Humperdink, Al Hirt, The Jack Daniels Silver Cornet Band, The Grand Ole Opry, shows at the Opryland theme park, the General Jackson, various Broadway shows, the Nashville symphony, and a wide variety of casual and club dates. He is presently performing with 2 different shows on the General Jackson Showboat.