Planning your performance calendar requires constant outreach. Symphony orchestras, chamber series, and event production managers are always updating their rosters, finding substitute players, and filling seasonal vacancies throughout the year.
If you want to secure performance work, you cannot wait for the phone to ring. You need to reach out proactively. It reminds me of when I first moved to Toronto. I met some other horn players at a pub, and they said I would never work there as no contractor would ever call me since they did not know me.
Well, I knew better. I got on the phone and called everyone who could possibly hire me and introduced myself to the first horn of the Toronto Symphony. The following week, I got to play with the Toronto Symphony, going on to play with the Royal Canadian Opera, the National Ballet, the Esprit Orchestra, and on and on.
Here is how to approach music contractors, orchestra personnel managers, and concert presenters effectively at any time of the year.
📋 1. Update Your Materials First
Before you send a single email, make sure your professional presentation is current and polished.
The Performance Resume: Keep it clean, single page, and focused on your orchestral, chamber, and solo credits. Highlight recent professional experience prominently.
Audio and Video Samples: Have one or two high quality, unedited audio or video clips ready. Contractors do not want to dig through complex websites; they want to click a direct link and hear your playing within five seconds.
🎯 2. Target the Right Decision Makers
Do not waste time emailing general info inboxes or marketing directors when you are looking for performance work.
Find the Contractor: Look for orchestra personnel managers, contractor coordinators, or artistic directors for local chamber series and professional ensembles.
Check Institutional Directories: Review performing arts organization staff lists and concert season programs to find the exact names and direct emails of personnel managers.
✉️ 3. Keep Your Outreach Short and Respectful
Contractors are notoriously busy professionals. Your email must be polite, direct, and brief.
The Subject Line: Keep it professional and clear. For example: Your Instrument Availability and Performance Resume – Your Name
The Body: State clearly who you are, what ensemble or instrument you represent, and why you are writing in three sentences or less. Include direct links to your performance samples and your resume PDF.
The Ask: Do not ask for a job outright. Instead, ask to be added to their substitute player list or offer to audition when the next opening becomes available.
📞 4. Follow Up Without Being Annoying
Everyone misses emails during busy performance weeks.
The Two Week Rule: If you do not hear back within ten to fourteen days, send one polite follow up reply in the same email thread.
Know When to Stop: If a second message gets no response, mark them down to try again in a few months and move on to other contacts. Persistence is professional, but over-messaging damages your reputation.
🤝 5. Nurture Long Term Relationships
Getting hired as a sub or guest artist is often about trust and reliability as much as raw playing ability.
Be the Easiest Person to Work With: Show up early, know your part inside and out, maintain a positive attitude, and respond to scheduling emails within hours. Contractors remember reliable players who make their jobs easier.
📝 Looking for Proven Email Templates?
If you want to save time drafting your messages, members of Musicians Guild International have access to ready-to-use outreach templates, resume layouts, and follow-up scripts designed specifically for independent musicians contacting personnel managers and concert presenters.
Final Thoughts
Securing live performance work requires proactive networking and professional communication. By updating your materials, targeting the right personnel managers, keeping your outreach concise, and being remarkably dependable, you can build a steady stream of gigs all year long.
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Author: Guy Edrington
Freelance French Horn available for performance and teaching engagements. I specialize in studio/remote session work, chamber music, recitals, and ensemble performance (orchestra, opera, ballet, musicals). Also offering private lessons and masterclasses, online or in-person.