If you’ve ever tried to find something for your orchestra to play under prayer, speaking, or transitions, you’ve probably run into the same problem:
Most music either:
- draws too much attention
- requires more rehearsal than it’s worth
- or just doesn’t sit well under what’s happening
So you end up with either awkward silence… or something that doesn’t quite work. This is a different problem than programming a concert piece and needs a different solution.
See what this actually sounds like (all 3 pieces, under 5 minutes):
Download the full pack (score + parts):
https://mattrileymusic.com/free-orchestral-underscore-pack
What actually works (from experience)
I’ve written underscore for real church performances, including commissioned pieces for Christmas concerts where timing, flow, and flexibility actually matter.
Here’s what consistently works:
1) Keep it flexible (short usually works best)
Underscore doesn’t need to be long to be effective.
In most situations:
- 1–2 minutes is enough
- it gives you flexibility
- and it doesn’t drag the moment
But more importantly, it shouldn’t lock you into a fixed timing.
Good underscore lets you:
- start at the right moment
- extend if needed
- or end naturally without feeling forced
For example, you can often repeat a section with reduced instrumentation and then bring the full ensemble in to build naturally.
In some cases, timing a piece to a specific moment can be powerful.
But most of the time, flexibility is what makes it usable. That kind of flexibility is far more useful than a perfectly timed piece that only works once.
2) It needs to support the moment (and stay out of the way)
If people start listening to the music instead of what’s happening, it’s doing too much.
Good underscore:
- supports the moment
- doesn’t compete with it
- sits naturally under speaking or prayer
That said, it doesn’t always have to stay static.
In some situations, a gradual build can add emotional weight, especially if it lines up with what’s being said.
For example:
- starting with a lighter texture
- then adding instruments as the intensity increases
This works best when it’s intentional. In some cases, the speaker can even rehearse with a reference track so the build supports the moment instead of distracting from it.
But as a general rule, it’s better to keep things simple than to risk doing too much.
3) It has to work with your actual group
This is where most arrangements fall apart.
Real ensembles have:
- missing parts
- uneven sections
- limited rehearsal time
If the piece only works with a perfectly balanced orchestra, it’s not practical. If it only works on paper, it won’t work in your ensemble.
4) It should require little to no rehearsal
This is the biggest one. This is where most underscore fails in real settings.
You shouldn’t need to spend a rehearsal block on a 1–2 minute transition.
The best underscore:
- reads easily
- balances naturally
- just works
Where most people get stuck
A lot of directors try to solve this by:
- pulling slow movements from other pieces
- reusing concert repertoire
- or stretching something that wasn’t meant to be underscore
It can work, but it usually feels off.
Underscore is a different category. It needs to be written for that purpose.
A practical option (free)
I put together a small set of pieces specifically for this:
- short (1–2 minutes)
- flexible instrumentation
- designed to sit under speaking
- minimal rehearsal required
These were originally commissioned for church performances, but they’re not tied to a specific season and can be used year-round.
If you want something that fits these criteria, I put together a small set you can use right away. You can download them here: https://mattrileymusic.com/free-orchestral-underscore-pack
If you need something more specific
Every ensemble is different.
If you need:
- a specific length
- a particular instrumentation
- or something tailored to a moment in your program
custom underscore is often the best solution.
That’s something I do regularly, so feel free to reach out if you need something built for your group.
Bottom line
Good underscore isn’t complicated.
It just needs to:
- fit the moment
- work with your ensemble
- and not create more work than it solves
When it does that, everything flows better.