Preparing for an Orchestra Session

When working with an orchestra, whether during a rehearsal or a recording session, every second is extremely valuable. It is therefore essential to prepare as thoroughly as possible in order to make the most efficient use of the time with the musicians.

Print a copy of the score so that you can better follow and interact during the orchestra session.

• Make sure your score follows this format:
  • 11 x 17 format (for orchestral music) or 8.5 x 11 format (for string ensembles)
  • All pages of the score: printed double-sided, on regular white paper
  • Bound with a spiral binding (not a comb binding)

• The content of your score must match the conductor’s score. e.g.: transposed notation, etc. If you notice errors in your score, correct them by hand. Do not create a new edition of the score after submitting it to the orchestra.

• The conductor or a musician may ask you questions regarding a note in the score.
  e.g.: “At measure 23, is the clarinet really supposed to play a D-sharp?”
  To be able to answer quickly, here are some suggestions for annotating your score in order to prepare it:
  • Write the chord names above the measures (as in a jazz lead sheet).
  • Draw a downward-pointing arrow below every treble clef used for clarinet staves, as a reminder that the clarinet sounds a whole step lower than written.
    (Use a similar symbol for other transposing instruments.)
  • Draw an upward-pointing arrow above every alto clef used for viola staves, as a reminder that notes written in alto clef are “read” one step higher compared to treble clef.

• Circle passages requiring special attention during the orchestral reading.
  e.g.: a passage where you are unsure about the articulation or playing technique to use.

• Bring your score to the session. When the orchestra plays your composition, annotate your score if you hear interpretation errors. It is therefore important to bring a pencil and an eraser.

• Never interrupt the orchestra while they are playing. If you notice an error, mention it to the conductor when the musicians are not playing.

• Always communicate comments directly to the conductor (not to the musician concerned). It is important that the conductor is aware of all corrections and/or modifications. It is the conductor’s responsibility to decide whether the information should be communicated to the musician involved.

• If the composer’s assistant is present during the recording session, they should communicate comments to the composer (not to the conductor or the musician concerned).

• When giving a comment to the conductor, be brief and precise. Do not waste valuable recording time on lengthy explanations; maximize the time available for the musicians to play.

• To communicate a comment about a specific passage:
  • If speaking privately with the conductor: mention the measure number first, then the instrument name.
  • If speaking to the conductor while musicians can hear: mention the instrument name first, then the measure number.

• If you are recording with a click track and you have completed satisfactory recordings of your work and there is still time remaining, you may use the remaining time to record string overdubs.
  If certain instruments are recorded in a separate room from the strings (e.g.: brass instruments), you can use this overdub session to also create an alternate recording of those instruments.

• If you are recording a short piece (less than one minute), it is faster to record the entire piece from the beginning for each take rather than attempting to start from a specific point in the piece.

• If works by several composers are being recorded during the same session, the composer must be ready to move near the conductor when the orchestra begins playing the piece preceding theirs.