"The purpose of my work is to let my clients' projects sound the way they asked for — or, in many cases, far better than they ever dreamed."
As a music arranger, I write arrangements for ensembles and orchestras out of hands-on experience playing, conducting and teaching.
As someone who works with real players — professionals and students alike — the writing rests on what works in an actual rehearsal, on stage, and under changing conditions.
The arrangement is built around the existing ensemble, the players' level and the musical goal.
Not from a theoretical ideal — from what's actually there.
An arrangement can include adapting the key and range, building the harmony, distributing the parts among the instruments, writing harmony lines and horn parts, building an intro, an ending and transitions — and sometimes a full orchestration, with a score and clean, organized parts.
In some cases it's a simple, precise adaptation.
In others — a rebuilding of the piece, with thought given to color, structure and development.
Beyond the technical side, arranging is about artistic decisions:
A good arrangement doesn't show itself off — it serves the piece.
When it succeeds, it sounds natural — as if it had always been that way.
The real test is in performance:
The process starts with a short scoping conversation to understand the ensemble, the goal and the timeline.
Once the materials arrive — a recording, a sketch, existing sheet music or an initial idea — a clear arranging direction is set before any writing begins.
Adjustments and changes can be made along the way, and at the end you receive clean, organized parts — and sometimes a full score — ready for rehearsal or recording.
Pricing varies with the scope of the work:
the length of the piece, the number of instruments, the complexity of the orchestration, whether a full score is needed, and the timeline.
Once I understand the project, I can give you a precise, clear estimate.
I write so the music holds up in performance — and sounds alive, balanced and clear.
If you have a piece, a show or an idea that calls for a precise arrangement — I'd love to hear about it.
Yes. We can start from partial material (recording/video/MIDI/sketch) and fill in what's missing together, based on what the players need.
Yes. The arrangement is matched to the ensemble's level, the age group/setting, and the goal (a performance, a recording, an educational project, etc.) — so it sounds good and also "sits well under the fingers."
Yes. Corrections and adjustments are a natural part of the process — especially once the players see and play the material for real.
Yes, as needed and by prior arrangement — from remote notes to attending a rehearsal or a set of rehearsals.
A music arranger takes an existing song or piece and fits it to a specific ensemble: choosing the key and range, building the harmony, dividing the parts between the instruments, and writing the intro, transitions and ending — so the music sounds natural and works in performance.
In practice they overlap. Arranging usually means adapting a piece for a specific ensemble — key, harmony, how the parts divide. Orchestration focuses on scoring for a full orchestra, or expanding an existing arrangement to more instruments. I do both, so it doesn't matter which word you use — just describe what you need.
I answer myselfMessage or call — whatever is easiest for you.