An Orchestrator writes scores and parts for orchestra based off a composer’s drafts (or sketches) for film, TV, video games, orchestras, bands, or individual performers. They also transpose music originally written for one voice type or instrument to be performed by another voice type or instrument.

Their primary goal is to fulfill the artistic vision of the composer or arranger, and to assign and finish all the parts to be played by multiple instruments.

Jeremy Levy is an orchestrator/arranger/composer whose work can be heard on TV shows Empire and Revenge, films Crimson Peak and Minions, as well as in dozens of other movies, TV programs and video games.

“My day-to-day duties are orchestrating cues [an individual piece of music within a film] and managing a small team of assistants,” he said. “I have a couple guys that clean up MIDI files from the composer we’re working with, and then they prepare sketches in Finale for me. My experience as a composer informs all of my work.

“It allows me to understand what the composer’s intent is, and how best to facilitate it. As an arranger, it gives me the skills to quickly flesh out harmony where needed without thinking twice about it.”

He said the orchestrator is the middleman between a composer’s music and that piece of music getting played by an orchestra.

“We are able to turn a Cubase file into a real orchestral score,” he said. “We are able to orchestrate sixty minutes of orchestra in two weeks. We are able to fix any potential issues that may arise. We know our role in the post-production workflow and maximize our skill set.”

In addition to the previously mentioned positions, orchestrators also work with composers’ assistants, music editors, mix engineers, copyists, and videogame composers.

But Levy said if you’re going to be an orchestrator, just focus on orchestrating.

“Be content with orchestrating, and don’t look at it as a way to get into writing for film,” he said. “It doesn’t really work that way. You get hired for being able to deliver a finished score without mistakes in a very short turnaround time. Don’t be a diva; the Composer is always right.” (He jokes, “Unless you can convince them of a way to do it better”).

Orchestrator vs. Conductor: An orchestrator translates what the composer has written so an orchestra can play it. A Conductor leads the orchestra in the performance. The conductor is the person standing in front of an orchestra at the symphony, the ballet, or a Broadway musical.

The average annual salary for orchestrators is approximately $62,400. The salary range for orchestrators runs from $13,000 to $175,000.

Going rates for orchestrators will vary based on the type of production, its budget, and whether or not it’s a union or non-union job. Orchestrators are paid in two ways, with the first being “an agreed upon package deal for the entire project. The lead orchestrator gets the paycheck and has to pay anyone else working on the project,” Levy says.

The second is “by the page. A page is four bars of music. The rate goes up or down depending on how many staves are in the score. Another factor to set the page rate is whether or not it is a union contract. If on contract, the upfront rate is a little lower as there are health benefits paid by the employer, as well as secondary market residuals. Off contract will be higher since there are no residuals.”

As with any professional career, those at the very top earn significantly more money than the average. There are no “big breaks,” rather a series of smaller opportunities strategically leveraged over a long time. Being good at what you do is a start, but not all you will need to earn a good living doing something you love. You also need persistence, hard work, and even some luck. Getting connected with the right people who know your work is key.

“It took me four to five years to be working enough that I no longer needed to play trombone professionally for supplemental income,” Levy said.

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For those with the right skills and connections there will always be a steady stream of work. Winning awards and working on bigger and more prominent projects will open the door to collaborations with high profile composers, orchestras and studios.

There is a strong need for capable orchestrators in film and TV, as well as in stage and concert productions around the world. Overall, the field is expected to grow in line with the expansion of the music business and entertainment industries. Over the last decade, we’ve seen annual growth in these industries averaging 4 to 15% annually, depending on which subsector and source you look at.

For example, according to statistics site Zippia: “from 2020 to 2021, the revenue of the U.S. recorded music industry increased by 22.9% (from $12.2 billion in revenue in 2020 to $15 billion in 2021,” while “the global music industry’s annual revenue increased by 18.5% from 2020 to 2021 ($21.9 billion in 2020 to $25.9 billion in 2021.”

We’ve seen this as a long-term trend. The appetite for entertainment and music is growing with the population. We can confidently say that it will continue at some pace, and that there will be a continuing growth in industry demand for music orchestrators, arrangers, composers, performers, and producers.

So, what’s it like to work as an orchestrator?

Although orchestrators work as part of a team with other composers and arrangers, they spend a good deal of time working on their own. Their work schedule is dependent on the project and its deadline, but Levy says, “I try to work normal-ish office hours. I have a studio in my condo, so that provides a bit of flexibility.

“My usual work schedule is 7:30 am to 6:00 pm. I’ll keep working after dinner if I’m on a time crunch. Otherwise, I try to spend time with my wife after dinner. Weekends are often needed to work during crunch time. A lot of times, recording sessions are on Mondays, so I’ll need to work Sunday if that’s the case.

I collaborate most often with conductor/orchestrator Tim Davies. The two of us have split orchestration duties on most projects over the past five years. Our process usually involves fully orchestrating a cue and then having the other look at the finished score to see if anything can be improved. You’d be amazed at what another person might find in your scores!”

Most people start off as assistants before being hired as full-on orchestrators. Those just getting started in the industry often must work other part-time jobs or cobble together several projects at a time to make a living.

Advancement would then come in terms of getting hired as an orchestrator for more prestigious projects with higher budgets, or by becoming the regular orchestrator for a television show or some other project that would provide a steady source of income.

“That is the tricky part,” Levy says of landing a first job. “Finding a way into the industry is hard. There are some good organizations in LA” for networking opportunities. “Otherwise, if you went to college, hopefully, there are alumni working in the business. I met with every Miami alum I could find when I moved here. It was very helpful with introductions.”

• “Start your own writing projects! I started a big band to feature my writing when I first came to town. You’ll meet a lot of people, and it shows you have the gumption to follow through on work.”
• “Also, get on the phone and call people you want to meet up with! You don’t usually get turned down unless it’s a scheduling issue. I’ve found people in the industry to be incredibly open to meeting up for advice.”

Getting the right training in music also means learning the business skills needed to succeed. Most schools have courses and resources for learning job-search skills and etiquette. It might be helpful to take some music business classes or read books about how the industry works.

Getting first-hand experience by completing an internship or working as an assistant to someone more accomplished is also a good way to break in. As with many things, getting started is the hardest part. Like riding a bicycle up hill, you must at first press the pedals hard, but once you are moving, momentum should make it easier to go forward.

While getting a good start is important, continued growth in your career will become a priority. This might mean winning some awards (like a GRAMMY®) or working with more well-known composers or organizations.

While it could take some years for your phone to start ringing with continuous opportunities, the right mix of skills and hustle will eventually get you to where you want to go.

Of the experience and skills necessary to become a successful orchestrator, Levy says, “I would classify this under two areas. [You must have] in-depth knowledge of the orchestra and all the instruments, as well as deep harmonic knowledge. Being able to look at a score and find issues just by sight is incredibly helpful.

“Being able to quickly work out solutions is even more helpful. [Also of importance is] being incredibly versatile in all aspects of music production software. This includes notation and sequencing. You will need to do everything at some point in your career. If you don’t know how to use a piece of software for a job, learn it and don’t let anyone else know!”

“You need to be able to deal with a bit of solitude. I am most often at my home studio working by myself,” Levy says, and indeed most orchestrators do spend most of their time working alone.

He adds, “However, you need to communicate well with others. Unless you’re orchestrating your own score, you will be working with a composer, so you need to learn how to manage his or her stresses and responsibilities with your own. Everyone is on a time crunch, so it is important to respect that and stay organized. Time management is one of the most important aspects of a successful orchestrator.”

A list of professional skills required for orchestrators might include reading and writing music notation, notation software, music transcription, solid knowledge of instruments, conducting, plus MIDI orchestration skills such as using sample libraries, synthesizer programming, creating orchestral mock-ups, and troubleshooting hardware and software.

A college degree in music, composition or performance can help an aspiring orchestrator learn the necessary musical skills they need to understand the mechanics of music. Levy says, “I have a Master’s in Jazz Composition from the University of Miami. It was incredibly helpful in teaching me the wide range of skills needed to find a career in music.

“At school, I also learned how to be a recording and mixing engineer–two very helpful additional skills. Besides formal education, in-depth knowledge of orchestral scores is very helpful. Being familiar with a wide range of musical styles helps quite a bit, too.”

While there’s a lot one can learn on their own, there are music degrees available with a focus on writing, including composing, arranging, and creating orchestrations. Most aspiring orchestrators attend a music program to prepare themselves with an arsenal of skills, learn the music business aspects, and build a professional network that will allow them to transition to the professional world of music.

Levy recommends the Society of Composers and Lyricists (SCL), the American Society of Music Arrangers & Composers (ASMAC) and the Academy of Scoring Arts. These groups are especially relevant to those looking to get into orchestration for film, TV and video games.

This video explains some very useful tips for orchestrators and mentions some excellent books on orchestration.

Using Chorale Writing (or 4-Part Writing) as the foundation for orchestrating

A guide to what gear you really for getting started with orchestral mockups

How to Write EPIC Cinematic Strings Starting from 4-Part Chords