Project Management 102
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How I Structure My Project To‑Do List
In my last post, I outlined the five things I set up before I begin any project—from to-do lists and production sheets to folder structures and calendar planning.
Today, let’s zoom in on the first (and perhaps most overlooked) part of that system: the to-do list.
Because writing music is only part of the job. The real trick is managing everything around it—before, during, and after the actual writing. And for that, a solid, reusable to-do system is what keeps me sane.
Series: Productivity for Orchestrators · Part 2
If you’re working on a creative project—whether it’s an orchestration, a concert arrangement, or a full score prep job—your instinct might be to just sit down and start writing music. And sure, the music is the core. But over time, I’ve learned that if I don’t manage the before, during, and after of a project properly, I pay for it later.
So let’s talk about the humble to-do list—and why it matters more than you think.
Don’t Overthink the App
Let’s start here: you don’t need a fancy app. Use the Notes app on your phone if that’s easiest. The key is having something you can duplicate, sync across devices, and keep updated. Especially if you’re juggling multiple projects, it’s worth creating a basic template to copy from.
I use OmniFocus. I know it’s not for everyone—this post is not here to fuel your gear acquisition syndrome. But I’ll explain my approach using OmniFocus terminology so it’s clear how things are structured.
On top of the standard template, this is also where I log ad hoc tasks like “Call this person” or “Double-check instrumentation.”
Before the Project Starts
I don’t set up a project unless I know three things:
Client name
Start date
Deadline
Without those, it doesn’t enter my system. I can create placeholders for other details like the title, but these three are essential.
The first task on the list is always:
“Set project review frequency.”
OmniFocus can remind me to check in on projects at intervals—if I don’t start for two months, I might want a nudge after one month to touch base with the production.
Then comes setup:
Create a Slack channel for me and my assistant
Set up mail tagging system (used later for archiving)
Create a Toggl tracker for time logging
Map that tracker to a Stream Deck button
Add the project to my big spreadsheet of project stats
Create the production sheet (more on that in another post)
Link the sheet to both Slack and my stats sheet
Fill out instrumentation—I can’t write a single note before this is confirmed. You don’t want to orchestrate for triple winds and then find out there’s only two of each (and no English horn).
Set up a Keyboard Maestro workspace to open all relevant project material and folders with two keystrokes
Preparing the Template
Once the basic setup is done, I activate the next section of tasks, sequentially. (OmniFocus allows me to structure projects this way—one section unlocks when the previous is completed.)
My master Sibelius template is copied into the project folder. I only use one master, which I’ve refined over time—instead of having different templates for different ensembles, I adjust things like paper size and fonts per project if needed.
Then I go through the following:
Check that instrumentation matches the production sheet
If I know the ensemble, confirm specific player setups (e.g., which doubles they have)
For film projects importing from MIDI, I generate a one-bar template version and clean it up from there
Check that copyright and orchestrator credit are correctly filled in
Delete default tempo text from bar 1
If this template is for shared use:
Set text to Times New Roman
Set music font to Opus
Adjust time signature spacing
For concert templates, change bar numbers to “per system”
If delivering to specific partners, import their house style and double-check alignment
All of this sounds like a lot—but skipping it early means I lose hours later.
During the Project
If I’m arranging a concert with several songs, each one gets a copy of this checklist:
Write the arrangement (flagged as “today” in OmniFocus—or deferred if I’m not starting yet)
Send to producer for revision
“Waiting for feedback” (tagged Waiting, appears on a dedicated list I check daily)
Implement changes
Send to proofreading / copying
Wait for return (again Waiting)
Finalize score
Send for final delivery
This lets me keep track of where I am—and more importantly, what I’m waiting for—on each song. For film scores, I mainly use the “Write music” task and shift it around day by day. I don’t use this micro-tracking system for all 40 cues.
Once everything’s delivered, the last item is triggered:
“Mark project as completed.”
I defer this task to the actual deadline, so it appears at the right time.
After Delivery
Once the deadline passes and the project is marked complete, OmniFocus automatically moves it to my Archiving folder, where I’m prompted to:
Send invoice
Archive invoice
Archive contract
Archive my notes
Archive the Dropbox folder to long-term storage
Archive final scores
Archive the production sheet
Archive emails (using my project mail tags)
Add the project to my master CV
Delete the Dropbox folder (this task is also deferred to the final deadline or last session)
Evaluate the project (what worked, what didn’t)
Remove the Stream Deck timer
Why This Matters
It’s all built in the right order. Every time I discover something new during a project, I update my template. This system ensures I know what needs to happen before I start, I stay on top of the project’s status throughout, and I can close things down with proper documentation and fast recall.
Don’t start with a list this long. But do ask yourself:
What do I want to be reminded of next time I’m deep in the middle of a project?
The sooner you build a system that reflects the way you actually work, the easier it becomes to stay focused—and deliver reliably.