Arranging
An arrangement written for the players you actually have, rather than the ones the original asked for.
What I arrange for
- Orchestras and string ensembles, including reduced or flexible scoring
- Brass bands
- Wind and concert bands
- Chamber groups, and unusual combinations where the players are who you have
- Choirs; SATB, upper voices, male voices, with or without accompaniment
The useful question is rarely "can this be arranged?" but "what does this piece need to become, for these players, in this room?" Tell me the forces and the standard and I'll tell you honestly what will work.
The copyright question, answered up front
Arranging music that is still in copyright requires the rights holder's permission before the arrangement can be performed or published. This is the first thing most choir directors ask, and the answer is straightforward: permission is the client's to obtain, it is usually a form and a fee, and I'll tell you before any work starts whether a piece is likely to need it.
Music out of copyright needs none of that. A great deal of the best repertoire is already there.
What affects the price
| Factor | Why it matters |
|---|---|
| Forces | Number of independent parts, more than number of players. |
| Standard of the players | Writing well within reach takes as much care as writing hard. |
| Distance from the original | A transposition is not a reimagining. |
| Rights clearance | Whether permission is needed at all. |
| Deadline | As ever. |