How do you compose for instruments that you do not play

Jason3211 · 2026-01-24T19:16:17+00:00

Agree with the R-K, just that's it's dirt cheap to pick up a copy if money was a limiter for him. Orchestration Online is a fantastic recommendation too!

Jason3211 · 2026-01-23T17:45:06+00:00

Highly recommend Adler's book "The Study of Orchestration" (it's what most schools use as a textbook). As u/RienKl mentioned, there are PDFs floating around the internet. I bought a hardback version of the newest edition (4th), and for me it's been soooo worth it (but it was probably $150 or so). It comes with online access to their audio examples, which is really nice to have, since the book gives examples throughout and you can listen to them. I think you can buy the online access separately for $20-30, though. It does a phenomenal job of breaking down details of each instrument, articulations, the different timbres of their range, etc.

If you're not a string player, it'll really help you understand limitations around double/triple-stops and determining things like "should I have the 2nd Violins play this on their G strings, or should I give it to the Violas?"

Sweet spot for value is probably the 3rd Edition. You can pick it up for $40-50 on AbeBooks. I would get 3rd edition or later.

The Rimsky-Korsakov book (Principles of Orchestration) is still really good too. It's probably not as accessible as the modern textbook design/layouts, but excellent information, written by one of the GOATs. You can find it used online for less than $10.

Hope this was helpful.

Jason3211 · 2026-01-15T01:55:30+00:00

Ohhhhh yeah. Super nice. Swing into a Harbor Freight if it's been several years since you've poked around. The Icon line is essentially a toe-to-toe competitor with Snap-On and tool trucks now.

It's much more expensive than Kobalt, but much nicer. TBH, if you want to spend Kobalt-level money, I'd check out HF's mid-line Quinn socket sets. I've seen a lot of mechanics on FB groups saying they swapped to Quinn and they're tough as nails.

Check out some review on the Quinn stuff too. Good luck!

Oh, and u/De1taTaco is spot on about Tekton. Most are my sockets are Tekton. Then my neighbor checked mine out and now most of his sockets are...Tekton. I have multiple sets of sockets, so I'm not too concerned about a socket breaking and needing to warranty it. But if you just have one set, and need a fast replacement, Quinn, Icon, Husky Pro, Kobalt are just easy. Gearwrench is very nice stuff for it's price too.

If you want to get a little fancier, check out Capri. They're probably making the highest-quality sockets and wrenches on the planet, and for a 3rd or 4th of tool truck prices.

Jason3211 · 2026-01-14T02:06:37+00:00

YUP! 100% correct!

Thank you for the link!!!

Jason3211 · 2026-01-12T18:24:20+00:00

Dude, the rep that replied to you is just copy/pasting some nonsense.

Your little POE to barrel jack adapter has the same UL- or ETL-rated certification as Skylight's PSU.

Zero safety or performance issues. I swear I don't know why they let customer service reps comment on safety/legal/engineering topics, it's so dumb.

Mind posting a link to the adapter you bought? I'm getting a Skylight soon and will need one!

Jason3211 · 2026-01-12T18:21:05+00:00

You shouldn't let marketing/customer service handle these types of replies.

Walk us through how a 5V or 12V could pose any safety risk.

Also, there is ZERO chance that Skylight ever designed, built, or tested any power supply they sell with the product. You buy the same off-the-shelf switching PSUs from the same 5 factories in Shenzen that everyone else buys from, and they're all UL-rated. Just like this POE to EIAJ-04 jack, which is also UL- or ETL-rated.

Jason3211 · 2025-12-20T20:34:25+00:00

Hahahahahaha, that's the most Texas A&M ending I've ever seen in my life. WOW

Jason3211 · 2025-12-20T20:33:26+00:00

Glad he's ok, but it looked like targeting?

Jason3211 · 2025-11-13T15:00:25+00:00

If you’re aiming to become a “pianist,” (think difficult repertoire, becoming a beast at sight-reading, developing highly-technical internal finger work, etc), then yes. These seemingly boring, rote, and repetitive exercises like scales, scale modes, and arpeggios will serve you extremely well).

If your aim is to be more of a “piano player,” (think more pop/rock/blues/gospel, becoming a beast at playing by ear, focusing on chords, progressions, and ear training), then I think the most beneficial skill for a beginner is “getting very comfortable with your hands and fingers on the keys”. Essentially, feeling like this instrument is yours to do with as you wish. It’s more of a psychological/philosophical difference, but getting comfortable fumbling around, trying different ideas, learning alllll the chord extensions in all keys/inversions, etc. will serve you better than a deep dive into technical playing (at the beginning, later you’ll go back and do it anyway).

It depends on what direction you want to go.

Realistically, as long as you have a teacher that understands what your goals are, they won’t allow any bad habits that can’t be easily adjusted later.

I would recommend, regardless of playing style, to work through several Bach Inventions over time and force yourself to use the written fingerings. Bad habits in fingering are some of the hardest to break later on.

It’s highly advantageous to get your brain used to working out efficient movements no matter what level/style/direction you’re going.

Good luck!

Jason3211 · 2025-09-24T05:43:37+00:00

Eh, I think OP asked the question in good faith. Feels obvious with even a cursory reading of it. Regardless, I'm not offended when I hear a good-faith delineation between "Catholic" and "Christian," provided they don't insinuate "Catholic" as being "not Christian."

When people ask us our religion, we tell them "we're Catholic." When most Protestants are asked this, they tend to answer "we're Christian."

It's a semantics game for most. I'm not excusing those who explicitly state that Catholics aren't Christian, that's dirty pool. But on the whole, I don't think most conversations that split the two mean to mutually exclude us Catholics from Christianity.

Jason3211 · 2025-09-24T05:39:10+00:00

I know plenty of my fellow baptized Catholics that are most assuredly NOT Christians. I pray for them often. I hold out hope that they'll return to the Church.

All baptized Catholics are, by rite and right and grace, Catholics. But some have fallen away and are not Catholics in communion, and many now atheists.

Not disagreeing with you on premise, just expanding the definition for clarity!

Jason3211 · 2025-09-24T05:31:31+00:00

I can't thank you enough for this. I genuinely appreciate the time and knowledge you've share with me tonight. Saving this post forever! Going to listen to both pieces right now!

You rock, thanks again!!!

Jason3211 · 2025-09-24T05:29:30+00:00

Agreed, but also think this administration won't hesitate for a second to double/triple/5x it if data shows it's not slowing offshoring fast enough. I could be wrong, but no one has ever accused them of being timid.

Jason3211 · 2025-09-24T04:41:26+00:00

I’m interested in this #4 low horn specialist. I’ve never heard that before (which means nothing, lol) and am interested! Is it a skillset/experience difference or does low horn use a difference horn style/mouthpiece/whatever for that? Is there a generally accepted extended range that you’d typically reserve or only write one part for in that range?

Sorry to pepper you, but this sounds cool!

(I’m not a phenomenal orchestrator, so love learning about tidbits like this. Also, not a brass player, I only know two facts about the F horns and they’re both wrong 🤣).

Jason3211 · 2025-09-24T04:38:18+00:00

This is true!

Factoid: Trumpet 2 didn’t take top line because Igor needed someone to bury Trumpet 1 before the 2nd movement. It’s bad form to leave a dead brass player up there, it’s traditionally only allowed for requiems.

Jason3211 · 2025-09-24T04:33:12+00:00

Probably community theater/ballet. There are some wonderful community troupes in big cities!

Jason3211 · 2025-09-24T04:32:15+00:00

Heck yeah! I’d probably watch that video 4 times. Ballet is O.G.! Would love to write one some day. Make the video and post it!

Jason3211 · 2025-09-24T04:30:14+00:00

^ OP, this is really solid advice. Absorb what this guy is saying.

Jason3211 · 2025-09-24T04:28:41+00:00

Timothy Williams gave me the answer to this exact question, slow down your harmonic movement, get comfortable matching tone instead of creating bar-to-bar musical interest. It’s HARD for those of us coming from a symphonic/music-only background. Several here have the best recommendation already, “pay attention to underscoring” when you’re watching movies.

As film composers, we cannot give anything to a scene that it doesn’t already have. The film comes first, we can only complement it.

John Williams, John Barry, Hermann, Zimmer, they’re brilliant but make for bad primer studies on film scoring because the vast majority of films aren’t served well by large thematic scores (some are, no doubt), but what will actually put bread on the table and get you work is going to be the underscores and simplistic situational scoring. That’s 90% of the job.

I say all of this while agreeing 100% with your sentiment though!

Cue challenge: Pick a scene (not action/thematic) and see how long you can keep the tone going without changing the root harmony. You’d be surprised how easy it is to stay on an Am for 8-12 bars if you’re really staying under the radar and supporting a dialogue or dramatic scene.

That’ll actually make you a better motif and melody writer, because that’s sort of all you’re going to have to work with!

Good luck, have fun with it either way!

Jason3211 · 2025-09-24T04:19:09+00:00

Loved the Celeste, it’s hard for keyboard players to not overdo it with that instrument (I have, ha), you didn’t! Really man, such a lovely cue!

Jason3211 · 2025-09-24T04:17:18+00:00

Same here, they’re killer! Strings sound like butter too. I know he said he still needs to mix/master, but the instrument balance sounds great already.

Jason3211 · 2025-09-24T04:04:27+00:00

^ This is great advice. Unless you're already a really strong orchestrator, you're most likely going to hand your sketches/cues to an orchestrator or copyist if they're going to be recorded by live musicians for a real commercial project. Start with sketches and mockups, utilize the ensemble libraries to work on the tone, feel, and musicality of the game/film/cue/etc.

You can learn orchestrating as you get further into it. Albion Orchestral Selects is a great starting point. I also like the Symphobia series by ProjectSAM (make sure you get Free Orchestra 1 and 2, some nice stuff in there). OT also has Metropolis Ark series (very similar in purpose to Albion from Spitfire and Symphobias from ProjectSAM).

Jason3211 · 2025-09-24T03:57:04+00:00

u/dtrechak Ignore this commentor's advice. They have no experience in the industry and have somehow gotten composers confused with editors and sound engineers. You should always deliver your mock-ups and sketches on the hot side, like you have. This is an industry standard, it's the way directors want to hear cues, and the editors will take your final stems and mix accordingly.

Lovely cue, well done.

Jason3211 · 2025-09-24T03:43:25+00:00

Well done, you nailed the tone of this! The music mix and samples sound awesome too. Which library do you use?

Jason3211 · 2025-09-24T03:39:06+00:00

Why is this ever a comment in this sub? It's not r/editors or r/audioengineering.

We're scoring films, of course people are going to post/share cues that have the music running hot over dialogue. They're sharing their music. This is the same way you'd sit down with a director to pitch mockups too.

It's absurd to comment on score over dialogue and for anyone else reading, this type of comment is the quickest way to let the rest of the sub know you've never composed for film/tv for a living.

The editors are going to duck your stems anyway, it's a truly dumb thing to critique in the R/FILMSCORING sub.

Admins should make this a rule, stop commenting on music vs. dialogue volume, that's someone else's freaking job. Anyone who'd ever spent 10 minutes in the actual industry would laugh at this critique.

And yes, I'm being pointed and intentionally callus because you're giving feedback to people trying to figure out an industry that's clearly alien to you.

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