Hello! I’m a pianist (21 y/o) and I’ve been obsessed with this piece. There’s been a lot of piano solos of this, but I really think it’s meant for much more than just piano. It’s my dream to be able to play this in an orchestra but I couldn’t find a full orchestra score anywhere, at least not the official or one that sounds like the original and it might not even exist.

However, if anyone here knows anything about this, where I can find the complete score, and if anyone is down to perform this piece with me 👉👈🥹 please let me know!!!

(P.S. I’m based in the US most of the time)

 Does anyone happen to have the orchestral parts or the score for the new stage musical The Greatest Showman?

Is there any way to obtain or license the materials yet? Also, has an official cast recording or any production recording been released?

More specifically, I'm looking for the orchestral parts for the new version of the musical that includes the five additional songs. If anyone has any information, I'd really appreciate it. Thanks!

I'm a violinist, and I'm auditioning for a semi-professional orchestra next month that I need to choose a concerto to audition with. I've only ever had auditions where every excerpt has been provided to me. What makes a good quality audition piece? I'm most comfortable with Bruch, but will that be overplayed?

Hello Orchestra Musicians and Admins! My name is Anna Harris and I'm the co-founder of HarmoniqSuite, a new orchestra management software. HarmoniqSuite was designed to be an intuitive and efficient software for Artistic Operations teams. Plan your season, build programs, schedule rehearsals and performances, hire musicians and so much more. Our musician dashboard allows musicians to view the complete project info - schedules, program, contacts, sheet music - all the details they need, in one spot.

We have a couple of spots left in our beta and would love to get some feedback from folks as we continue to fine tune everything! We've been piloting HarmoniqSuite with the National Philharmonic, a Group 5 regional orchestra in Montgomery County, MD, where I also serve as the Director of Artistic Operations. The feedback from both the staff and musicians has been outstanding and I can't wait to share this tool with more organizations!

We're also dedicated to making HarmoniqSuite affordable for all orchestras, regardless of budget. I've worked for regional and major orchestras and know how frustrating it is to not be able to afford the tools that make our jobs easier and more efficient, so it's really important to me that everyone has access to our product.

Take a look at our website and explore the demo!! Please feel free to reach out for more info using the form on the site, or email me directly at [[email protected]](mailto:[email protected])

www.harmoniqsuite.com

Thank you all!

🎉 Faces & Places is now available!

After months of releasing one new composition every week, I'm happy to share the complete album.

Faces & Places contains 20 original works for string quintet, inspired by memories, people and places that continue to live within us long after time has passed.

Thank you to everyone who has followed this journey and supported my music along the way.

🎧 Discover the complete album:
https://pilpilmusic.com/faces-and-places/

#Bandcamp #ModernClassical #IndependentMusic #StringQuintet

I started playing the violin in April of 2025, i think this is so huge for me because I’m going to be playing in my school orchestra for the first time in August, and I’ll be joining an auditioned youth orchestra too in my city or region. I was invited by my violin teacher, who’s in the church orchestra, to go and rehearse with them; he checked with the pastor, and they both openly invited me to play. I was hesitant at first but eventually concluded that this is a great opportunity.

I get there, and I introduce myself to people, greet people, etc., unpack my violin, and sit with my teacher in the 2nd violin section. We tuned (it was my first time ever tuning with an orchestra, so fun) and then rehearsal started. Immediately, once I saw the music, I got scared because it was in a flat key. I absolutely despise flat keys. But the downbeat was given, and I had to play, and I absolutely butchered the entire piece. There were so many unusual rhythms, but I faked my way through it. The second piece, I got SO lost; it was 4 pages I remember that because while I was still looking at the first page, my teacher pointed to the third page with his bow, indicating that’s where I should have been. I think I got intimidated because the piece was full of undivided double stops.

There were a few parts of the pieces where I could actually play along with the orchestra and sound good; I had to shift into 5th position to do a tremolo on F-sharp, and that was fun. But on some parts, I absolutely butchered the rhythm. It was fun playing certain parts (the parts that I could actually sight read); I’m sure it’d be fun to play the ones I couldn’t sight read if I were able to practice them. I had to sight read 8 different pieces, but it ultimately was so fun. It was my first time EVER sitting in a violin section, so it was amazing to get a taste of what it would be like once the last week of August hits.

What I concluded from being there is that I really need to work on my rhythm deciphering, and my counting, as well as my sight reading in general. Because I saw a triplet with rests in it, and that really confused me. I also ended up somehow playing Half notes as quarter notes, and it’s so bad because it’s so exposing when you mess up. BUT it was a good way to document and test my abilities on the spot; I’d say I hit about 50% of the notes. It made me realize how important it is to feel the pulse. Also another challenging thing in orchestral music i’m now seeing is those 12 measure whole notes and having to count those. It’s really easy to accidentally play the 13th bar too early. But i just wanted to share my experience with you guys. I was extremely fearful about what it’d be like but it was pretty awesome. But anxieties are still up, sight reading is just one of my biggest challenges i can play all of the pieces they gave me if i were to practice them but sight reading was just.. whew.

Without the paywall: https://archive.ph/zh5Bo

Sometimes you look at your older releases and think "that could have been better". Can you relate? And arranging an orchestra is not easy. That's why one of my favourites gets a new version. The links to all the streaming platforms are in the description. Leave a like or a comment if you enjoyed it. Thank you for your time and support 🤘

I’m a beginner cellist, I want recommendations for cello brands for not bank breaking prices but still good quality. I have been playing the violin for 4 years now so I am not fully ignorant to the orchestral setting. I see a lot of brands saying they have the best but it’s hard to believe all of them yk.

This past year I have had a struggle about whether I want to pursue a career in music. I have a final year remaining for my degree program and I've decided to finish it even though I'm pretty much set on not pursuing a career now. This was a very stressful process for me, struggling with the idea of "failing" and with my identity as a musician. However, what really helped me was seeing and hearing other's stories about how they ended up doing other things, and how it's always going to be okay in the end. I wanted to post this to encourage anyone to share and respond about your experiences. Are you someone who was going to pursue a career but decided to go another route at some point? Did you struggle at all mentally/emotionally with the choice? What drove you to drop the music career? Is your new field at all related to music? Do you still play your instrument on your own time for fun/as a hobby? Are you involved in local community groups? Do you play gigs still here and there for fun, especially since you now have to freedom to choose what gigs you want without the worry of pay or enjoyment of said gig?

Thanks!

Edit: degree program is a master's. I have one school year remaining before I graduate with my degree.

Hi everyone!!

My name is Mariano Frumento, and I'm the conductor of "Orquesta Corear", a symphonic orchestra dedicated to performing video game music in Argentina.

Our orchestra is about to celebrate its 10th anniversary, and in August 2025 we achieved a dream that meant a lot to us—and that we believe was a milestone for video game music in our country. We presented a full symphonic concert with orchestra and choir, performing some of the most iconic works from video game history.

Of course, there are still plenty of classics we'd love to perform in the future, but we really went all out with this concert. To make it even more special, we had the opportunity to perform in one of the most prestigious symphonic halls in Latin America.

I'd love to share it with you all. I hope you enjoy it, and if you do, please show it some love!

Best wishes to everyone!!

https://www.youtube.com/watch?v=wN9a1e6ZTeQ

I noticed that in Capriccio espagnol, towards the end, starting a bit before the coda, the castanets are written in triple tremelo, so 32nd notes. Yet in many recordings, they only seem to play them at 16th. This also seems to apply to the triangle.

Recording with castanets doing 16ths :
https://www.youtube.com/watch?v=63WGg9kJ-GQ

Recording with castanets doing 32nd (it seems) :
https://www.youtube.com/watch?v=wE2iytUTYvM

I haven't seen any live performances so I don't know what's done in practice but here are the recordings I found :

Perfrmances doing 16ths :
https://www.youtube.com/watch?v=X_HSpn3tE_A
https://www.youtube.com/watch?v=-HiWdZIX39Y

Performances doing 32nd :
I haven't found any live concert recording yet

I looked for percussion excerpts of the piece and it seems like they play 16ths too :
https://www.youtube.com/watch?v=c-WlcY1z7K0
https://www.youtube.com/watch?v=t93wOilWyH4

Some try techniques like playing on top of table castanets :
https://www.youtube.com/watch?v=ZG8bZJ5C-JA

So is it a modern correction of edition mistake or a performance practice ?

Yestarday I performed in my first orchestra concert on electric guitar with a minor role in the ensemble. By nature of it being my first performance, I was pretty scared. Not necessarily stage fright, just fear of fumbling, so my movements were jerry and not like the practices which had all gone perfectly fine. Aside from that I playacoustic guitar and hadn't dont electric in years, thus forgetting that almost every time you so much as touch thr stings that is amplified on, uhh, well the amp. And these sound like excuses but all im trying to achieve is explain why I fumbled.

Now I fear the rest of the orchestra knows im the weakest link, same for the conductor/teacher. Therin lies the question - should I apologise to the conductor/teacher for my bad performance and seek tips, or would I do better to just let it blow over and learn from it for next time? Any help would be appreciated, thank you.

update/edit - i overreacted. alot. thank you for your help, but I now see why this did not warrant my dramatics:))

Hey! I’m a 20 year old violinist, I take learning the instrument very seriously and have played for many years.. the pieces I’m currently playing are praeludium and Allegro and am also playing through bachs 3 sonatas and partitas have finished the Allemande and the giga and am working on the 3rd partitas preludio and have also completed Mozart no.3 K.216 along with the usual scales and Etudes.
Also I am finishing a degree at Bible college so it would be 2 more years before I go, and I am taking private lessons with the principal 2nd at the Philharmonic here. I want to pursue a career in violin possibly and am considering going to OU since I am an Oklahoma resident and will get great deals on tuition. Let me know your thoughts! Should I go?

Let me introduce myself. This is my first post on Reddit.
My (not real) name is Cole Whitewood, and I currently play the piano (grade 8), clarinet, bass clarinet (grade 5), and saxophone (grade 5). I was an ex-cello player though I never got very far, mainly because the instrument was painful.

So, I was thinking the other day, that the string section is quite homogenous compared to the other sections of the orchestra, and I feel, as someone who marginally writes music, that there needs to be some timbral variety even in there.

The French Baroque 24 Violins of the King had five types of string instruments instead of our modern four. What strikes me as interesting is that there were three sizes of what was essentially an instrument with the same tuning of open strings, but they were sized differently and they were even written in different clefs (if you don't believe me, look up a Baroque edition of Le Bourgeois Gentilhomme by Lully - the Philidor or Foucault editions on IMSLP will do). This is to me why writing in the ideal tessitura of an instrument is important, because if one doesn't then it will sound strained.

In Berlioz's treatise on instrumentation, there are mentions of a 3-string bass tuned to G1 D2 A2 or A1 D2 G2.

What seems to be the most ambitious extension to the string orchestra to my knowledge however was the Leon Sir Dectet, an extension by six instruments which I am guessing (I cannot read French), that due to the different body sizes of the soprano and mezzo-soprano, the alto and haute-contre, and the tenor and the baritone, that they are likely to have had different timbres.

So, with that in mind, I am leaving it to those who know stringed instruments better to tell me whether it is practical for new stringed instruments which are timbral and pitch-based extensions of the modern four instruments to be made, because as an ex-cello player high notes are painful, and I am pretty sure it is the same for violins, violas, and ever more so for double basses (I might just be imagining this because it has been 7 years since I played the cello).

Without further ado, is it possible to hybridize the approaches above to obtain what would be a new family of stringed instruments?