Frequently Asked Questions

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At the very minimum, scores will have a single keyboard line written in to guide your percussion writer. In some cases, complete mallet and timpani books have been written and are included in the score. Full auxiliary parts are often not included in the score as they work better musically if they line up with the battery. Battery parts are not included in the score, however if you are looking for qualified writers to assist you, I have a number of local and nationally proven individuals I would be happy to connect you with. Most of my original compositions will include full battery books that can be purchased separately. The battery books will contain variations for 4 and 5 bass drums, and easier shows will also contain 3 bass drum parts for smaller lines. As they get finalized and entered into the computer, those recordings will start showing up online.

Yes there is! I would be happy to email you mp3 files of the shows for your consideration. Almost all of my original works are available as MP3 files on this site. Head over to the Original Compositions page to listen.

Finale or MIDI files are NEVER provided. In an age of rampant digital piracy, I need to protect my intellectual property and my own personal investment. You are free, however, to alter or "tweak" the show on your own to your own liking once you have fully paid for the music.

Sure! If you have a visual concept that you are excited about, by all means make those alterations for your program. All I ask is that you let me know about it. If you change a title to something else, particularly to something similar to a work that doesn't normally get copyright clearance, we will have documentation to prove that you are in the clear.

As of 2007, yes. This is both for your protection and mine. For me, it insures that the time and effort that goes into planning and designing your show comes to fruition. For you, it insures you that I am going to be devoting my full efforts towards making your program the best it can be. I take my commitments very seriously and will actively turn away late-coming groups because it is not fair to those I have already made commitments to. No program deserves "back burner" treatment. I require a deposit for music or drill, however there is a discount if I will be providing both for you. If there are unique budgetary circumstances, please let me know in advance. Having been a public school educator myself, I know what you are dealing with and will be happy to make arrangements that will suit both of us.

Yes I do. I'd be happy to discuss the possibility of creating something for your ensemble or event. Please email me for more details.

Yes! I regularly judge throughout the Midwest and along the East Coast (mostly contests that use the Bands of America sheets or similar variations) and keep my certification current through the USBA and MCBA. Feel free to contact me if you are looking to fill out your panel.

Think of it like an artist covering somebody else's song on their album. When the CD is sold, a small portion goes back to the original artist. This is similar to what happens when we arrange somebody else's music for our ensembles. When you secure permission to arrange, the arranger essentially becomes a one-time contracted employee for whoever owns the rights to that music. When the music is arranged, they don't really own their work anymore, it is the property of the original owner of the music rights.

Yes. The needs of every ensemble are different. Portions will be added or removed, difficulty will be managed, and the strengths and weaknesses of your particular ensemble will be accounted for. This makes it a new arrangement since the chart has been changed.

That differs from publisher to publisher. Often this information is listed on the CD or the bottom of the score if you already have the original manuscript. Another way to find out is to check the BMI and ASCAP web sites. Do a search to find out who owns the rights to the music. In the results, you will often find direct email addresses or phone numbers for the individuals you need to contact. Many music publishers have information on their web sites as well. Please note that permission to arrange MUST be secured before you will receive your music. This is for your protection as well as my own. By now we have all heard the horror stories of band directors getting in significant legal trouble from music publishers. While I may not agree with some of the publisher's methods on this matter, these are the rules of the game, and we must follow them.

Bands of America has a decent resource section on their site including a downloadable PDF that has pretty much become the standard in terms of securing permission to arrange in the marching arena. They also have some other links of helpful information further explaining copyright issues. Not exactly fun, recreational reading, but definitely informative and up-to-date.

I don't blame you. As a band director, you have a million other things to do without this hanging over your head. There is a company called Tresona Licensing Exchange that will (for a fee) take care of the entire process for you. They also have a very good list of music that is either impossible to secure the rights for or difficult and/or expensive to secure. They have become almost an industry standard for dealing with this including traditionally difficult aquisitions. Everybody from DCI, BOA, WGI, and numerous college bands have utilized them including a number of groups that I write for.

I pronounce it "yah -jhat - edo" with a soft J sound. I figure that if the announcer is always going to pronounce my name wrong, might as well go all out. For the record, my last name is pronounced with a silent E, almost like "Trump" but without the enormous sums of money.

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