1. I am an expert in wind instruments.
While I can arrange and transcribe for other instruments and voices quite well, I am especially experienced with brass and woodwind writing. Why? Because I have been a performing trumpeter / saxophonist / clarinetist / flutist for nearly two decades in a wide variety of ensembles. I also play trombone, F horn, and euphonium reasonably well. I know what each wind instrument can do, I know what writers typically write for them, and I know how difficult a part will be to instrumentalists at different ages and experience levels. I know how key signatures, range concerns, and fingering issues affect everybody. Most of all, I know what is characteristic for each instrument, meaning I can write parts that sound impressive without being unnecessarily difficult.
Having skill in many wind instruments also means that I can offer simple demo recordings of pieces I write. Especially when writing for educational groups, it's often helpful to have a recording at your fingertips, and I am able to offer that service as well.
Having skill in many wind instruments also means that I can offer simple demo recordings of pieces I write. Especially when writing for educational groups, it's often helpful to have a recording at your fingertips, and I am able to offer that service as well.
2. I can customize music for your needs.
When you work with me, you can get a chart tailored to the needs, strengths, and weaknesses of your ensemble! For example, say you want a piece for a high school jazz band with no piano or guitar, three saxes, five trombones but none with much range, and two trumpets, one of whom is extremely strong. Standard charts are going to sound strange for your band, but I can adapt to your ensemble's instrumentation and abilities.
Some interesting writing jobs I've done:
- An arrangement for professional-level jazz orchestra to feature two saxophonists with two F horns added to the ensemble (see examples page to hear this!)
- An adaptation of Mozart's Serenade in C minor (originally for eight winds: Oboes, clarinets, horns, and bassoons in pairs) for mixed chamber ensemble of two flutes, violin, clarinet, alto sax, trumpet, F horn, trombone, tuba, and tympani
- An adaptation of "Jeru" and "Boplicity" from the Birth of the Cool band for smaller, different horn section while maintaining the distinctive harmonic feel of the original
- An arrangement of a rock tune for unaccompanied wind section (see examples page to hear this!)
- A transcription / adaptation of a piece for four male singers with jazz orchestra to SATB with jazz orchestra.
- Adapting Beach Boys vocal arrangements for SATB
- Transcribing Chicago / Blood, Sweat & Tears complex horn section arrangements
Some interesting writing jobs I've done:
- An arrangement for professional-level jazz orchestra to feature two saxophonists with two F horns added to the ensemble (see examples page to hear this!)
- An adaptation of Mozart's Serenade in C minor (originally for eight winds: Oboes, clarinets, horns, and bassoons in pairs) for mixed chamber ensemble of two flutes, violin, clarinet, alto sax, trumpet, F horn, trombone, tuba, and tympani
- An adaptation of "Jeru" and "Boplicity" from the Birth of the Cool band for smaller, different horn section while maintaining the distinctive harmonic feel of the original
- An arrangement of a rock tune for unaccompanied wind section (see examples page to hear this!)
- A transcription / adaptation of a piece for four male singers with jazz orchestra to SATB with jazz orchestra.
- Adapting Beach Boys vocal arrangements for SATB
- Transcribing Chicago / Blood, Sweat & Tears complex horn section arrangements
3. You will get professionally done, competently engraved scores and parts.
My scores and parts are professionally done, clean, and straightforward to read. I am always aware of how easy a part will be for the player to read cleanly on the first try with minimal confusion. Key signatures and staves will appear on every line; accidentals will be spelled clearly and intelligently; rhythms will be parsed as simply as possible; and articulations will be clearly marked. You'll never get hand-written scribble or parts that require explanation or clarification.
Here's a sample page. Note clear style and tempo markings, ensuring the first few notes will be played right; clear dynamics; articulations detailed enough but not distracting; rhythms written with the beats clearly visible, making sight reading easy; clear, easy-to-use rehearsal markings; and helpful courtesy accidentals after the distant key change. Note also the clef and key signature on every line, which is how real music looks. Additional pages are clearly labeled at the top, for example: "Please Be Kind, Alto 1, pg. 2".
I am aware that these features don't sound all that special and are just common sense, but the fact is many, MANY supposedly professional pieces of music, especially in jazz, don't handle these things well.
This is a personal preference, but I prefer to use plain old music font for jazz charts instead of Inkpen, the font that looks like hand-written scribble. I use a computer to print music so that it DOESN'T look like hand-written scribble! But if for some reason you're really attached to Inkpen or think jazz tunes have to be hard to read, I can print it in that font for you.
I am aware that these features don't sound all that special and are just common sense, but the fact is many, MANY supposedly professional pieces of music, especially in jazz, don't handle these things well.
This is a personal preference, but I prefer to use plain old music font for jazz charts instead of Inkpen, the font that looks like hand-written scribble. I use a computer to print music so that it DOESN'T look like hand-written scribble! But if for some reason you're really attached to Inkpen or think jazz tunes have to be hard to read, I can print it in that font for you.
4. I have the education and experience.
I hold a DMA in Music Performance, with a MM and BM in Jazz Composition. I have been writing, arranging, and composing professionally since 2001. My performing experience includes everything from symphony orchestras to rock bands to brass quintets to classical recitals to jazz orchestras and more, so I am familiar with styles all over the map! My writing experience covers writing for the jazz orchestra, arranging for chamber ensembles, creating marching shows, arranging for rock bands, writing for jazz combos, and writing pep band charts. I write for groups of any skill, from beginning middle school bands through professional ensembles.
5. I will follow up and continue to work with you if you need changes made.
My job is not done when I send you the finished product! I am happy to work with you and adapt the music I wrote for you if you need any changes. Maybe a measure or two is too difficult, a certain passage just isn't working, or the range is too low for the singer. I can make minor adjustments quickly and with no extra charge. If you find mistakes (unlikely!) I will fix them and offer a small discount on your next order by means of apology. Bigger, more time-consuming changes like drastic instrumentation alterations might mean a small charge.