Arranges a composer's film score sketches for full orchestra, creating individual parts for each musician.
Technical Details
A film orchestrator works with scores of 20-40 staves simultaneously, considering pitch ranges from 16.35 Hz (double bass) to 4,186 Hz (piccolo). Modern orchestrators use software like Sibelius or Finale, which automatically create transposed parts for wind instruments – for example, B-flat clarinets (sounding a whole tone lower) or F horns (a fifth lower). The score includes precise dynamic markings from ppp (-40 dB) to fff (+20 dB) as well as articulation marks for playing techniques such as tremolo, pizzicato, or glissando.
History & Development
In 1933, Max Steiner first introduced systematic orchestration to Hollywood with "King Kong," composing and orchestrating himself. From the 1940s onwards, the division of labor between composer and orchestrator became established due to time constraints – John Williams has continuously collaborated with orchestrator Herbert Spencer since 1974. Danny Elfman has collaborated with Steve Bartek since 1985, who translates Elfman's often unconventional instrument combinations into playable scores. Digitization since 2000 now enables mock-ups with sample libraries like Vienna Symphonic Library, which convey precise sonic ideas to orchestrators.
Practical Application in Film
For "Star Wars" (1977), Herbert Spencer orchestrated John Williams' piano sketches for the London Symphony Orchestra in just three weeks. Thomas Newman composes electronic demos that his orchestrator William Ross translates into hybrid scores for orchestra plus synthesizers, as in "1917" (2019). Hans Zimmer works differently: he programs complete electronic versions that orchestrators like Bruce Fowler convert into orchestral notation, with often only 30-50% actually being played by an orchestra.
Comparison & Alternatives
The arranger adapts existing music for new ensembles, while the orchestrator instruments original compositions. MIDI orchestration with software like NotePerformer is increasingly replacing simple orchestration tasks but does not achieve the nuance of human expertise in complex passages. Hybrid scores combine sample-based elements with live orchestras, with the orchestrator deciding which instruments are played live – usually strings and wind solos, while percussion often remains digital.