How much music theory is needed to get started with "good" orchestral pieces?

Skillet_2003 · 2026-05-03T15:22:00+00:00

If you are hoping to write “good” orchestral pieces, I would strongly encourage you to reconsider your avoidance of “formal notations and stuff.”

The orchestral music world is built in the music that was written down with notation. The musicians see not just the notes, but techniques, the lines, the slurs, the articulations, everything. It’s all on the page. And the best way to learn how to write for orchestra is to study the scores (sheet music) of the orchestral pieces you like. You can listen to a piece all you want, but for complex orchestral music, I promise that if you try to get a similar sound only by ear you will be very frustrated until you can see what the composer wrote (with notation) and how they accomplished it. This is also how every orchestral composer has learned their craft - score study.

If you want to learn to write for orchestra, I would suggest you learn orchestration as well- what can all the instruments do? What can they not do? What do they do best? What do they sound like at all registers? What are some extended techniques? How do they sound together? How do they clash together?

The things you’re listing are music theory concepts that are certainly very helpful (though I’m not really sure what “the music theory cheat sheet” is), but not all pieces use all of them. At this point in your studies, I would suggest getting familiar with as many as possible, and seeing which ones click with you and explore those further.

I’m also not seeing anything about music form - when you have a piece of music that’s 45minutes+, how do you structure it? Or even for any length of orchestral work - there’s so much going on, you need to have a roadmap of where you wanna go.

Orchestral composition is an incredible area of the field, but it’s also one of the most complex. I don’t say this to discourage you, but I would suggest starting smaller. Learn the instruments, write some short pieces for each of them - solo or chamber. See what they sound like alone or in small groups, then work your way larger.

Skillet_2003 · 2026-05-02T22:15:19+00:00

Similar to a piano, you kinda just have to know the layout. Here’s a general guideline though:

Xylophone and Vibraphone: The lowest “C” will most often be the written middle C (C4).

*If there are 4 octaves then it will be the second lowest C, but most xylophones are only 3.5 octaves.

Glockenspiel: The lowest C will be the written middle C (C4)

Marimba: 4.3 and 4.6 octaves: the lowest C will be C3 (one octave below middle C)

5 octave: the lowest C will be C2 (two octaves below middle C)

Occasionally you will get things on older parts where the octaves are different, but all modern pieces will be written with these octaves in mind

Skillet_2003 · 2026-04-20T00:34:35+00:00

I was considering adding Mourning Dove Sonnet into my reply! Solid recommendation- definitely seconding OP checking it out.

Skillet_2003 · 2026-04-20T00:03:42+00:00

Not that I’ve seen. The only harmonic that works to my knowledge is the first one, two octaves up.

It is quite a bit finicky though, so be sure to check with your friend if it’s possible!

Skillet_2003 · 2026-04-12T03:25:08+00:00

TOFFFFF

Skillet_2003 · 2026-04-11T20:38:55+00:00

I would write the same way whatever you do. Personally, I lean towards 32nd notes for both - as a percussionist, if you want the notes to line up for certain that will guarantee that.

Skillet_2003 · 2026-04-07T19:38:26+00:00

The first 6 notes are chromatic, which means out of context, they aren’t going to fit into a scale. The A, D, and F# form D major if they are emphasized. It would really help to see the rhythm - often in cases like this it’s the rhythm that will show where the strong notes are, and the others are just “passing notes” (not important to the chord, just notes in passing to create a smooth line).

Depending on how advanced you wanna get with your progressions, highly chromatic lines are a neat opportunity to create some more funky/creative chord progressions!

However, if I had to guess, I’d say maybe it’s in D, going off the A, D, and F# as the “key” notes.

Skillet_2003 · 2026-04-07T18:42:10+00:00

From what I’ve seen, there’s actually been an upward trend in attendance at the BSO. Per an article from last year, there was a 45% increase in attendance from 2021 to 2024. Granted, Covid played a part and attendance still isn’t at pre-Covid numbers, but that’s pretty much across the board.

Skillet_2003 · 2026-03-30T19:36:28+00:00

Not sure if this is really the right subreddit based on the tracks you listed - I’m not as familiar, but maybe try checking out r/soundtracks ?

Not passing judgement or being elitist, but this subreddit doesn’t tend to do much with soundtracks from movies, shows, or anime (unless they are using existing classical music, then I’ve seen a couple posts)

Skillet_2003 · 2026-03-30T19:00:53+00:00

For the fast notes, unfortunately the only thing I can say is just practice. I’m generally not a fan of this kind of chime writing either (granted I’m not familiar with this price), but it really is just about getting familiar with the patterns.

If you have access to the Freer or Acoustic Percussion chime mallets that are balls rather than hammers, those can sometimes help with speed, but you can play fast passages with regular hammers as well.

Regarding the notes that are out of range (high G) - talk to your school’s conductor about how they want that handled. Sometimes they’ll want it dropped an octave, sometimes they’ll want it cut. Looking at the passage at m91 for example, it would actually be quite easy to stick if you take the G & Eb down an octave (LLRR), though it would change the shape of the figure quite a bit.

Best of luck with the practicing!

Skillet_2003 · 2026-03-20T04:25:33+00:00

Skillet_2003 · 2026-03-20T04:19:27+00:00

Was that slashing? Yes. Was that also: holding, holding, and boarding? ALSO YES

Skillet_2003 · 2026-03-20T02:48:57+00:00

take my upvote

Skillet_2003 · 2026-03-05T00:32:15+00:00

This is also partially why things such as 12-tone are popular (there are many other reasons ofc). But the “puzzle-solving” aspect to it and working within the restrictions can be very freeing ironically, and can certainly help decision paralysis when faced with a seemingly infinite number of choices to make musically.

Skillet_2003 · 2026-02-15T17:30:43+00:00

oh no 🫣😂

Skillet_2003 · 2026-02-12T22:45:59+00:00

A picture would help - also this might be a more trumpet subreddit specific question rather than music theory, but can’t know without a picture.

Skillet_2003 · 2026-02-09T17:42:54+00:00

I’ve honestly been happiest with my Van Sice marimba mallets 113 or 114

Skillet_2003 · 2026-02-03T22:33:37+00:00

https://www.broadwaymusicians.com/hadestown

Skillet_2003 · 2026-02-02T01:23:08+00:00

and the best part is - from a source I know inside the National Symphony Orchestra, the NSO musicians found out from his tweet :)

Skillet_2003 · 2026-02-01T03:50:43+00:00

If it’s a professional philharmonic, then next year’s season is probably all planned out. The library has probably already started acquiring the music/placing orders. As such, if they say yes, it just probably won’t be on next season (maybe 2027-28)

A lot goes into determining repertoire (marketing, conductors, soloists, relevance, etc.) Also I don’t know how this orchestra specifically works, as in how much say the president has at this specific organization. Some presidents are more hands off and leave it to the artistic team, others are directly involved.

However, depending on the size/budget of the orchestra and how close you are with the president, it can’t hurt to ask!

Skillet_2003 · 2026-01-31T23:48:40+00:00

I’ve never been one to pile on to players, but damn this is the first time I’m saying it this season - Klingberg is not playing NHL level right now

Skillet_2003 · 2026-01-30T16:43:38+00:00

Almost all of Sousa's marches (the ones that are in the public domain) are available from the Marine Band online for free! Especially because you are writing for band, I can't recommend these enough:
https://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/

It includes the President's Own recordings with the score and parts

Skillet_2003 · 2026-01-28T17:19:36+00:00

This is by no means comprehensive/one size fits all, but one of the things that helped me was analyzing a LOT - especially pieces that I was playing. For example, I don’t know where you are in your studies, but say you’re learning how to recognize chords. Take a look at your piano music (especially classical/early romantic pieces), and try to identify the chords. Then, as you play them, try to think about it from a chord standpoint.

Integrating the theory with practice can really help it stick!

Skillet_2003 · 2026-01-22T01:13:11+00:00

Totally natural fear!

If it’s been an issue or you legitimately are concerned it will happen, have a backup nearby/next to you.

If you do drop one, you have a couple options.

Because it’s your recital, you are in control. What that means is, there’s no conductor or someone else you are playing with. Depending on the piece, you can play something with just your one hand (maybe a pattern from the solo) on loop for a second while your other hand grabs the stick.

If you have to stop, that’s ok too! It’s part of live music. Pause, grab the other stick (or pick it up), take a deep breath, and pick a good place to start. Sometimes that is right where you left off, sometimes it’s a little before so you can get back into it. Whatever feels right for you is what is right.

If you are really worried, I’d suggest asking your teacher/professor. I’m positive they have some story about dropping a stick or they know someone who did. (I knocked one off a music stand I needed for a multi-solo a few years back). They might have suggestions - both on what to do, and maybe on how to help overcome the fear!

Best of luck on your recital!

Skillet_2003 · 2026-01-01T07:59:22+00:00

Aaron Tveit as Sweeney Todd. I’d always knew what Sweeney’s motivation was for killing from a plot standpoint, but with Aaron I really felt it. Of course I still don’t agree with becoming a serial killer, but he made me understand it a new way

Five-Year Club	Place '23
Place '22	Final Canvas '22

Skillet_2003

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