NEW ARRANGEMENTS, BIOGRAPHIES,
MUSIC ANECDOTES, HELPFUL HINTS, ETC.
on this page you will find our return policy. It is near the
bottom of the page where it belongs)
AMP is now able to take the
We are in the process of adding that info to our Secure Order
Until that is finished, if you are ready to order
just write Discover and then the credit card number on the number
We are happy to send our arrangements
to you as PDF files,
so that there will be no shipping or handling charges.
Please remember...That some of our charts are handwritten manuscripts,
and some were written on music programs that are no longer available,
and after scanning they will not be quite as crisp when sent as PDF files.
Arrangements can be found
on the T-Z
scroll to near the bottom and
you will find our list of outstanding and unique
WE NOW HAVE
standards for--Concert bands, Big Bands with strings,
string quartets with rhythm,
string quartets with flute lead, Sax quartets/quintets,
small orchestras, percussion ensembles, etc.
See our "Helpful Hints" suggestion at the
top of every "Arrangements Lists" page for a
quick way to find these special charts.
If you want to check
out a really unique and interesting bunch of musicians,
try this site. They're great! www.jumbocircuspeanuts.com
NEW! A book/CD bundle of 6 jazz piano pieces for the
intermediate student. Listen to the recording as you play
along! Also, we now have Jazz Standard arrangements available for Big
Band with strings, small orchestras, string and brass
quartets, etc. These are all from Joe Cea, nationally known
pianist/arranger/composer. You can read his Bio below.
These arrangements and the jazz piano book are in the "J" category on
the ARRANGEMENT LISTS pages.
Listen Before You Buy
(We are very sorry to announce the death of Mr. Brodfuehrer.
We will not be able to sell any of his charts until arrangements are
made. He was a very good friend and our very most favorite
MP3s of all of Dick Brodfuehrer's "D" and
"BB" arrangements are available on a single CD.
That's more than 100
They sound much more
realistic than the MIDI versions and are the full
arrangements, not just short samples.
The price is only $10.00
to cover the costs of materials, production, postage, and
Use the ORDER NOW! page
to place your order.
If you would like just one or two MP3 samples of Dick's music, we will be
pleased to email them to you at no charge,
forewarned that they are large files running from 1,000 to 2,500 KB for each title.
out the available MP3s on the SAMPLE page.
your requests to;
the XYZ before using) include your
name, email address, mailing address,
instrumentation, phone number, and we will send them as expeditiously as possible.
newest arrangements !!
#970-R Down and Out (Nobody Knows
You When You're)
Comment: A Dixieland style arrangement.
Piano has the lead followed by clarinet and trumpet.
One of the better arrangements of a song that is not played much, but really should be.
For Clarinet, bari or bone, trumpet, and rhythm. In Bb.
#974-R Goodnight Sweetheart
Comment: This is the "Sha Na Na" version complete with the bari covering the "Bowzer" bass part.
Captures the heart of the Sha Na Na experience. Enjoy the chart!
For alto, bari and/or tenor, trumpet, and rhythm.
We can come up with a bone part as well.
#972-D Holiday Schottisch
Comment: Holiday Schottisch is a traditional schottisch by Stephen Foster.
Don't know what a schottisch is?
Look it up like I did.
You'll be glad you did.
#962-M Lone Jack to Knob Noster
Comment: Saxophone Quartet.
"The Rolling Road to Ragtime," by Jack Rummel, SATB/AATB.
A rollicking folk rag named for Jack's favorite section of US 50 in the green rolling hills of northwestern Missouri
between the towns of Lone Jack to the west and Knob Noster to the east.
A great rag that allows each horn to shine in its own sections. Keys F/Bb
#963-M Nickels and Dimes
Comment: Saxophone Quartet. A modern rag by Robert Darch.
Premiered by the Royal City Sax Quartet at the Grand International Ragtime Jazztime Festival, May 26, 2007, Alexandria Bay, NY.
While the piece is firmly in the ragtime style, it has several modern elements. Keys C/F, SATB
One for Amelia
Comment: Saxophone Quartet. This is clearly a modern rag
written by Max Morath
with much more syncopation than rags from the early 20th century.
However, the laid-back nature of this piece makes it very easy to listen to.
Premiered by the Royal City Sax Quartet at the Grand International Ragtime Jazztime Festival in
Alexandria Bay, New York. Keys Ab/Db, SATB/AATB
#965-M Pride of the Prairie
Comment: Saxophone Quartet.
SATB, Keys Bb/Eb, Bill Edwards set out to create a classic rag
using the guidelines set by the compositional style of Joseph Lamb, who had a magical way of creating long phrases in his rags.
The D section is a loose interpolation of the chorus of America the Beautiful (“the fruited plains” or prairie).
#966-M Roberto Clemente
Comment: Saxophone Quartet. SATB/AATB. David Thomas Roberts is one of the composers who has pushed ragtime into the modern era,
and I had the privilege of collaborating with David on this arrangement.
It's a mellow easy-going rag that ends "with unrestrained fervor." Keys Bb/Eb
#967-M Thinking of My Childhood Days (Saxophone
Comment: Saxophone trio. I(S/A),
A Joplin song that will be a nice contrast to other ragtime pieces
because of its lack of syncopation.
Key Bb. Joplin's
original title was not politically correct for today, so the title was
This arrangement prints so every player can see all three parts,
making it easy to stay together.
Mix and match to fit the horns you have. So long as each line gets
#968-M This is my Father's
Comment: Saxophone Quartet: I(S/A), II(A), III(T), IV(T/B) Keys Eb/Ab/Db.
An arrangement of the hymn tunes, “Terra Beata” and “Dix”. This arrangement takes the two hymn tunes,
both originally in 4/4, and puts them in anything BUT that time signature as
they venture into 5/4 and 3/4.
Once they're finally allowed back into their four-square mold, they're-forced to become partner songs.
Traditional enough for church, but steps out of the ordinary enough to satisfy a
saxophone's rebel spirit.
THE FOLLOWING IS A PAID MUSICAL ANNOUNCEMENT!!!
There are a lot of
websites that offer free sheet music to download.
Remember, when you get it, most of the instruments are
going to be in the wrong key and in the wrong range.
you have the right software (and know how to use it) you will spend hours making
All you will have then is some programmer's/sequencer's idea of what a Jazz tune should sound like.
Ours are what long-time working Jazz musicians/arrangers think the tunes
should sound like, and they are very very good.
Our order page is
and we never
share your info with anyone else,
any circumstances, any time.
If you have any questions, e-mail
us at firstname.lastname@example.org
(remove the XYZ before
or give us a call: 1-928-541-0797
or 1-888-468-7700 Toll Free (in the USA only).
We are Mountain Standard (no daylight savings) time.
If you would like to
communicate directly with the arrangers,
here is how to do so.
category-Dick Brodfuehrer, email@example.com
(remove the XYZ before
Because of the perils of the internet we have to use
this security device to keep
our email links from being
hijacked and used for nefarious purposes..
"V" category-Robert Varnado, firstname.lastname@example.org
(remove the XYZ before
"S" category-Douglas Smink, DISminkxyz@aol.com
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"J" category-Joe Cea, email@example.com
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the XYZ before using)
"F" category-Arthur Funk, firstname.lastname@example.org@fuse.net
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category-Stephen Mangold, email@example.com
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R, "T", "W" category...writer of the
"Comments" section, and driver
of the Winnebago:
(Sorry...Just couldn't help the
"Blues Bros." joke.)
Rick Rhodes, firstname.lastname@example.org
(remove the XYZ before
using) We have to do this to protect ourselves
from scammers (or is that spammers?)
This from Rick Rhodes:
I play fundraisers for school music
programs twice a year in a group called "The
Together Again Band".
Here is a little history on how we got our name.
Eight years ago I ran into John Putnam (the "O" arranger, and the music teacher for my wife and I in the
60's) at a friend's house here in Prescott, Az. He
was visiting from Columbus, Nebraska where he now lives
and teaches at a university. We were talking about music and I told him I
had a group that played locally and that I did a little
arranging for them. He asked if I would be
interested in some of his arrangements, and of course I
jumped at the chance. These are amazing charts!
John called me shortly after the charts arrived and
proceeded to go through them with me explaining tempos,
dynamics, style, etc. As we were talking he
mentioned that he would be coming out to my area in a
month or two and would I be interested in getting some
guys together, and we would run through some of his music
and just jam.
John's charts used a different instrumentation than I
used in my group so I randomly chose some people I had
been familiar with, or had heard about, from Prescott,
Phoenix, and Scottsdale Arizona. I just told them that I had
a friend coming in from Nebraska and we were going to
just have fun and play some of his arrangements. They
were: Will Stuart-trumpet, Harry Woolard-bass, Dale Dombey-alto/tenor, Ed
Cassling-trumpet, Ed Holmgren-alto/tenor,
myself-tenor/bari, Kirk Higgins-drums, and my son Mike Rhodes playing guitar. John did not know who I had picked,
just that I had found some guys. Again let me
remind you that this was just a random choice that I made.
When John walked into my house and looked at the people I
had invited to jam with us, he got kind of a strange look
on his face. He looked at Will and Will looked at him and
said "John I haven't seen you since we graduated
from Phoenix Tech together in the 50's. Will looks
at Harry and says: "And Harry I haven't seen you
since we played "Shakeys' Pizza, Kohl's Ranch, and
the Prescott Pine Cone Inn together in the 70's".
Dale had played with Will for years and was familiar with
some of John's teachers and friends from the early days.
I of course was John's student and had played off and on
with some of these guys for a few years never knowing
that they were all acquainted. My son, Mike, is now
the son-in-law of Kirk the drummer. And now, out of the
blue, I was approached by a member of John's early group,
named Wes Ridley, about playing with us on our
fundraisers. (And he will play when next we get together.) Hence the name, "The Together
Again Band". Isn't this great!
Also from Rick Rhodes:
A story about John Putnam-the "O"
John took mostly music classes in a special school in
Phoenix called appropriately enough "Phoenix Tech".
One of his classes was on arranging, and the class was
given an assignment of doing a jazz chart. They were to
pick the instrumentation and style. John (who was 15 at
the time) chose to do a big band chart in a style that he
thought would be like "Stan Kenton", who was
very big in the 50's.
Shortly after John had finished his chart (and got a
pretty good grade on it) he discovered that Stan Kenton
and his band were coming to the Phoenix area and would be
playing at the "Riverside Ballroom". He says
that being the arrogant/naive 15 year old that he was, he
thought he would just take his arrangement to the Kenton
concert and see if Kenton would look at it.
During one of the band's breaks he found Kenton in the
bar and just walked up to him, introduced himself, and
asked Stan to look at his arrangement. Kenton did agree
to look at his arrangement later if John would leave it
John then decided to stay and watch the
rest of the concert. When the band came back from their
break, Kenton announced that he had received an
interesting arrangement from a young man earlier in the
evening and the Kenton band was going to play it! John
was floored. But never so much so as when Kenton
announced that the young arranger was also going to
direct the Kenton band in the playing of the chart.
Somehow, John was able to get up on the stage and run the
Kenton group through his arrangement. I am told it went
This was the start of a friendship and working
relationship between John and Stan that lasted until
Kenton died. John did many fine arrangements for the
Kenton Orchestras over the years, including "ghosting"
one whole side of "The Ballad Style of
Kenton" album. This album is available at www.Amazon.com . Some of
the arrangements from that album are available from us.
They are in the "-O" section and are marked
If you would like
to send us some of your amusing experiences or some
helpful music hints e-mail us at
the XYZ before using) Tell us if
you want your name and/or e-mail published.
Putnam-Arranger of the "O" category and some of
the Big Band charts
John is a music
educator, composer, arranger, pianist, and a published
poet. He has toured with many "big name" bands
and "ghost arranged" for Stan Kenton for more
than thirty years. He recently retired after serving as a
Music Educator for 41 years. During that time he also
served, and will continue to serve, throughout the
country as an adjudicator, clinician, and mentor in music.
John's career began in 1959 as the Band and Choral
Director at Agua Fria Union High School in Avondale Az.
In 1965 he went to McClintock High School in Tempe, Az.
and in 1971, he inaugurated the music program at Central
Community College-Platte Campus in Columbus, NE. He has
toured with his musical groups all over the USA and the
world. But even better than that, his musical groups have
performed at Disneyland/Disney World more than 30 times.
Although John says he was never a child prodigy, he was
already playing professionally at dances at the age of 13.
He was only 15 when he met the famous bandleader Stan
Kenton and became his friend. It was that year that
Kenton-at a concert in Phoenix-tried out one of John's
arrangements for the first time. For several years, John
arranged music professionally for Stan and toured with
his regional bands in the Southwest. He had his own jazz
band for six years and composed and arranged for a
variety of choirs, jazz and concert bands. His charts
have been played and recorded by many very well known
John holds a bachelor's degree in instrumental music and
a Master of Art's degree in choral music and humanities.
He is a cousin of Dick Brodfuehrer (the "D"
arranger) and twice a year plays fundraisers in Arizona
for school music departments with Rick Rhodes ( a former
student and the "R" arranger) and his group.
This band is called the "Together Again Band"
because it is made up of a group of guys-from all over-that
have been associated with John through the years.
Brodfuehrer-Arranger of the "D" category and
some of the Big Band charts
organized his first group, a five-piece combo, and played
his first professional gig when he was 16 years old. They
almost immediately booked a six month engagement at the
Eagles Hall in Columbus, Nebraska.
During his freshman year at the University of Nebraska,
majoring in music education, he organized the "Rick
Burgess Nu-Tones" that played dances and had a
weekly program on the university radio station.
After his freshman year he enlisted in the U.S. Navy and
attended the Navy School of Music. He spent most of his
time there not as a student, but on temporary assignment
to the arranging staff as a copyist. He then did tours
with the Sixth Fleet and Atlantic Fleet Bands.
organized the "Dick Burgess quintet in 1956 to work
as the house band at "The Casino Ballroom" in
Virginia Beach. When the season ended he returned to
Nebraska where he worked with, and arranged for local
dance bands and jazz groups. He played show band gigs
with groups such as "The Lettermen", "Paula
Kelly and the Modernaires", "The Four Freshmen",
and "The Ice Capades". He also spent eight
years with an Army National Guard Band where he led the
stage and dance band section.
He abandoned his musical career in 1964 to take a job as
a traveling auditor. He retired as Director of Auditing
for a large oil company in 1997 and found a renewed
interest in music arranging and composition.
Dick is also the author of the book "Horns
And Stuff" which is a compilation of
informal notes that he has referred to again and again
over the years. It is a useful tool, especially for
musicians new to arranging. It contains notes on ranges,
registers, and characteristics of instruments most often
associated with stage and dance bands. It also contains a
fairly comprehensive section on Latin instrument rhythm
patterns and a basic chord chart. There is more info on
this book on the "Order Pages".
Smink - Arranger of the "S" category and some
of the Big Band charts
originally from the Baltimore, MD, area. He wrote
his first arrangements while in high school. In
college, he studied harmony and counterpoint with
composer Robert Stewart, played in university musical
groups, and led his own dance band. As a student at
Berklee College of Music (Boston, MA), he studied
arranging with John LaPorta and saxophone with Joe Viola.
While teaching at the high school level, he composed,
arranged, and conducted for various musical ensembles.
He was also co-director of the Worcester (MA) community
Currently living in the Washington, DC, area, Douglas has
written arrangements for, or played saxophone, clarinet,
and flute for several big bands, including Big Band
Tradition, Band for All Seasons, HOTS Jazz Orchestra,
Richard Bray, Frankie Condon, Doc Dikeman, and James
Bazen. For over 20 years, he has performed on
clarinet and saxophone with the Village Jazz Band, a
traditional jazz band for whom he has written some 50
arrangements. From audiotapes, he has also
transcribed big band and small band arrangements and
constructed lead sheets for a published fake book.
Now retired, Douglas devotes much of his leisure time to
arranging and playing music. His arrangements have been
commissioned by and sold to groups throughout the country.
(remove the XYZ before
Rick Rhodes- Arranger of the R category and
some of the Big Band charts-says that being on this
Bio page after the others, reminds him of what
George Gobel said after having to come onstage on the
Tonight Show and sit between Bob Hope and Dean Martin.
George said: Have you ever felt like the whole
world is a tuxedo, and you're a pair of brown shoes!"
Well here goes.
Rick was born and
raised in Phoenix, Az. and now resides in the mountain
town of Prescott, Az. He has played reeds since he was
nine years old. Rick is still primarily a reed
player though he does play piano once in a while, and
stand back if he picks up an Ocarina. His first
professional gig was at the age of 11.
He continued to play on through high school where his
music teacher was John Putnam, the arranger of the O
charts, and an arranger for Stan Kenton for many years.
In high school Rick toured with the Concert Choir and the
Concert Band and was chosen to go to M.E.N.C. as one of
only 10 members picked for the whole state.
Though he never gave up playing music completely, he
received his commercial pilots license on his 18th
birthday and flew air ambulance, crop dusters, flew
freight into Mexico, taught advanced aerobatics, and was
a corporate pilot.
Having moved to Prescott in the 70s with his
wife and 4 sons, Rick joined the Prescott Community Band
with his sons and got back into structured music.
He was a featured soloist with the Prescott Symphony
Summer Pops, the Yavapai College Big Band, and others. He
has played in many bands in his local area-- including pit
bands, big bands, combos, and has had his own small group
for fifteen years. Rick says he has been very fortunate to
play with many well-known musicians, such as: Mel
Zelnick (Benny Goodman drummer), Joel DeBartelo (The
Tonight Show Bassist for 20 years), Dick McCord (Spike
Jones and Igor's Jazz Cowboys), and Nigel Burn (a great
UK clarinetist/saxophonist that played his first gig at
the Samson and Delilah Ballroom in 1936 in
London), among others. Rick and his primary combo-"The Easy
Street Jazz Band"-are well known in the Northern Arizona music
One of his proudest moments was being featured with his
wife and two of his sons on the ABC network show Arizonas
Families for their music! Even though he is
a business owner, he devotes quite a bit of time to doing arranging for his groups, and-with John Putnam-
playing benefits/fund raisers for school music programs,
assisted living centers, etc.
Terence Martin-Arranger of the "M" category-says
that if Rick Rhodes feels like a pair of brown shoes, then I'm a pair of
musical training started informally with his grandmother who played in
the Schenectady Symphony (not famous and now non-existent) and had an
all-girls dance band in the 1920’s and 30’s (good, but not famous).
He took 5 years of piano lessons from Ken Kelly (good, but not
At Scotia-Glenville High School, he sang in the
“Choralaires,” the good but not famous select chorus, and took his
one and only music theory class from “Doc.” Sullivan, the excellent,
but not famous, director of the school’s music department.
Between his sophomore and junior years, he taught himself how to
play the saxophone so that he could play in the good but not famous high
school stage band.
college, he played tenor sax in the EXCELLENT and FAMOUS University of
Michigan Marching Band (http://mmb.music.umich.edu).
After graduation, the saxophones spent many years in their cases,
For the last 16 years, he has sung in the excellent but not famous choir
at the First Church of Christ, (www.firstchurch.org)
his son started to take sax lessons, he started to arrange simple duets
to play together.
Soon thereafter, he tried a few ragtime saxophone quartet
arrangements just for the fun and challenge of it.
On a whim, he sent a note to the Royal City Saxophone Quartet
(their CDs are awesome! www.studiospace.com/rcsq/),
and they were interested in trying some of his arrangements.
On October 3, 2003, they played “Frog Legs Rag” at the
Ragtime Festival in Erin, Ontario, which was the world premier
performance of any Martin Sax Quartet Arrangement.
makes his living as an actuary ( www.soa.org
and www.actuary.org ). He arranges
music purely for the love of it.
Joe Cea-Arranger of the J category and some
of the Big Band charts
and Arranger Joe Cea is one of the most versatile
musicians and entrepreneurs working in America today.
Born in Brooklyn, NY, Joe has not only worked at the
premiere performance venues of his native, NYC, Including
Lincoln Center, The Rainbow Room, and Tavern on the
Green, but has also traveled extensively throughout the
world, accompanying such artists as Steve Allen, Jim
Nabors, Dizzy Gillespie, Robert Merrill, Joan Rivers,
Donald OConnor, Rodger Williams, Bobby Rydell,
Bobby Vinton, Pat Cooper, Pepper Adams, Charo, Kenny
Burrell, Enzo Stuarti, Eddie Daniels and Mike Andrew.
Joes traditional style of solo jazz playing has
been compared to that of Art Tatum, Oscar Peterson, and
Dave McKenna. Dick Hyman, who was pleased to hear
Joe perform, has called him, a good, swinging
player, and Clark Terry has described his playing
His arranging projects have included Rhapsody
for Stereophile records. His TV appearances include
Live With Regis and Kathy Lee.
Besides performing in concert, outdoor festivals, and for
private functions throughout the US, Joe is also
president of Cea Productions. Joe Cea, on piano or
keyboard will lift your spirits to another place and
Robert Varnado-Arranger of the "V"
Robert is a native Texan raised and currently living in Mesquite (just
east of Dallas). He has been married to his lovely bride, Rebecca,
for thirty years and they have one son, Matthew. Robert earned a
bachelor of Music Education from East Texas State University (now Texas
A & M University at Commerce) in 1976 and has taught strings in the
Mesquite ISD for a couple of years. He then went into a family
owned construction business for the next 20 years. Robert earned
an MCSE ( Microsoft Certified Systems Engineer) certification in 1998
and is currently working as a Desktop Support Specialist and Crystal
Reports/Enterprise Administrator for Aviall Inc. in Dallas.
In 1986, he was a Charter member of the Mesquite Symphony
Orchestra. For seven years Robert was Viola section leader, player
representative on the Board of Directors, as well as equipment and stage
manager for the Symphony. In other words, he was the "work
horse" who made sure that all the chairs, stands, and percussion
equipment for from the rehearsal facility to the concert hall and set
up, and back again. Robert would still be doing these duties
except that politics got in the way of the music...as usual. He
also played with several community groups around the Dallas area for
various functions and activities.
In 1990, Robert joined a local church and became very involved in the
music programs there. He was a member of the chancel choir and
various ensembles as well as the Bell Ensemble where he was responsible
for up to thirteen bass bells at any given time. Robert was also
the youth Choir director for a short time, a Deacon, and member and
officer in the Men's Council.
In 1991, Robert joined the First Desk Quartet. The FDQ was formed
in the early 80's by James Gaskin who was a classmate of his and fellow
1972 Graduate of North Mesquite High School. Their quartet is
technically a "Flute" quartet with the first part being played
by Lisa Cordova who is a music educator in the Dallas ISD. this is
the reason that most of Robert's arrangements are written for flute,
violin, viola, and cello rather than the traditional violin I & II,
viola, and cello. However, he is sure that most-if not all-of the
flute parts can be played by violin without any difficulty at all.
He started doing these arrangements a few years ago because they needed
more "pop" type of music as opposed to the strictly classical
selections. The hope was that this would make their group more
marketable and, so far, it seems to be working.
Arthur Funk-Arranger of the "F" category
and the "CB" (concert band ) charts
Arthur Funk is a working musician, composer, arranger, and bandleader
with over 20 years of experience. He has written for everything
from polka bands to symphony orchestras, and has had his music used in pit
Stephen Mangold-Arranger of the "L"
Stephen is a music educator, arranger and performer.
Originally from Central Indiana, he learned to play a variety
of instruments at an early age including bassoon and tuba.
The school band Stephen participated in as a child didn’t
have players for these instruments and he was willing to learn them.
As time has progressed and his love of music grew, there
aren’t too many instruments he hasn’t learned to play.
This includes all woodwinds and brass, several strings, guitar,
and bass. In addition, he has played in a wide variety of settings
including band, orchestra, pits, and small ensembles. Professionally,
Stephen has taught Instrumental, Vocal, and General Music as well as
Music Theory for twenty-four years in South Dakota and Ohio.
Stephen has a Bachelor’s degree in Instrumental/ Vocal music and a
Master’s Degree in Conducting.
Stephen’s arrangements grew from a variety of situations.
He wrote the small combos because there was a need to have
small ensembles performing for community events.
It was difficult to find arrangements to suit his specific
needs. So, he began to
write his own and discovered he had a passion for it. He usually
played a part in the ensembles simply because he enjoyed playing.
Stephen wrote the tuba duets as something fun to play at Christmas
with his son Aaron, a tuba performance major.
The graduation arrangements came about because of a space
issue. There just wasn’t
enough room for the full band in the gym during commencement, but a
smaller ensemble was workable. All
of the arrangements are straightforward and most were written to
fulfill a need. However,
some of the arrangements are simply songs that Stephen likes and wants
to play. He
particularly enjoys late 60’s pop music as a medium to work with.
They were such great songs.
Stephen prefers to write for small ensembles because he finds
them more intimate than larger groups.
You have get to know how the people in the ensemble play,
think, and react and this in turn, affects how you play.
Stephen loves the challenge of writing for an unusual ensemble
and is willing to do request arrangements.
Much of Stephen’s free time is spent with his wife, Andrea, but he
also continues learning to play instruments he hasn’t mastered yet.
In addition, he enjoys reading about music or religion.
Stephen’s favorite composer is Hector Berlioz and he has many
CDs and books about Berlioz’s life and music.
The summer months are filled with gardening and yard work.
Dick Brodfuehrer shares his Ten Rules for
Ensemble Playing. He says he heard a couple of these
years ago and has added a few of his own.
e-mail us and add your own.
(remove the XYZ before
1. Tune your instrument carefully so you
can play out of tune with a clear conscience.
2. Always check your neighbors' music stands to make sure
you are about to play the same piece.
3. Scowl at the person next to you if you play a wrong
4. Nevertheless, a wrong note played timidly is merely a
wrong note. But a wrong note played with authority is an
5. Slow down on difficult passages, and speed up on easy
passages. It will all work out in the end.
6. Performance directions in German, Italian, or French
by American composers cause confusion, are unnecessary,
and should be ignored. The composer is just showing off.
7. Similarly, conductors who jump up and down, flail
their arms about, and generally go through all kinds of
hysterical contortions, should also be ignored. The sole
purpose of a conductor is to substitute for a metronome
during performances. Anything more is just showing off
for the audience.
(Note: Rules 8 and 9 do not require any change in the way
you actually play your part. Their purpose is to
demonstrate your passion to the audience.)
8. To show passion on a slow tempo piece, close your eyes
and sway to and fro. String players and pianists can
add to the effect by displaying a tortured facial
expression. Don't be concerned if this causes you to miss
a note or two. (See Rules 3 and 4.)
9. To show you are really into a fast piece, tap your
foot vigorously and bounce up and down by flexing your
buttock muscles in tempo. Tapping both feet is even
10. And never forget the fundamental rule for all
instrumental ensemble music. Loud is Good!
HERE ARE THE ADDITIONS
11. During a particularly difficult passage is when you
will always see: a. A brass player
emptying his spit valve or playing with his tuning slide.
b. A sax player removing his mouthpiece
and adjusting his reed. c. A drummer
dropping his sticks. d. A piano player
deciding that his stool needs adjusting. (Rick Rhodes)
12. The best practice is to never look up. (Jim Coull)
13. Passages marked "Softer" should also be played
slower, and passages marked "Louder" should also be played
faster. (Terence Martin)
Great Lies of The Music Business
The booking is definite
Your check's in the mail
We can fix it in the mix
The show starts at 8
My agent will take care of it
I'm sure it will work
Your tickets are at the door
It sounds in tune to me
Sure, it sounds fine at the back of the hall
Of course your mic is on
The roadie took care of it
She'll be backstage after the show
Yes, the spotlight was on you during your solo
The stage mix sounds just like the program mix
The club will provide the PA and lights
I really love the band
We'll have it ready by tonight
If it breaks, we'll fix it for free
I had nothing to do with your marriage breaking up. It
was on the rocks long before I ever met you
The place was packed
We'll have you back next week
Don't worry, you'll be the headliner
It's on the truck
My last band had a record deal, but we broke up before
recording the album
Someone will be there early to let you in
I've only been playing for a year
I've been playing for 20 years
We'll have flyers printed tomorrow
I'm with the band
The band drinks free
You'll get your cut tonight after the job
We'll supply someone for the door
You'll have no problem fitting that bass cabinet in the
trunk of your car
There'll be lots of roadies when you get there
You'll have plenty of time for a sound check
We'll definitely come to the gig
You can depend on me
OUR RETURN POLICY
Most of our charts are
written on computers and mechanically printed, but there are some that will be
handwritten. email@example.com (remove
the XYZ before using)
On those that are handwritten, we think the
experience of playing from copies of the original
manuscripts is worth it.
That is why we sell these charts
so reasonably. We hope you will be inclined to overlook
some of the peculiarities in the arrangements.
done everything we can to make them as readable as possible. Even after all of our efforts you will still
find some errors.
Just correct them (or bring them to our
attention and we will correct them) and enjoy.
If for any reason you receive an unreadable page or pages
we will replace them at no charge.
We will try to do everything we can to make you happy
with our sheet music, but due to the annoying propensity of some people to
copy our arrangements and then ask to return the originals, we
can not make refunds.
On a case by case basis we will
give credit or make exchanges.
If the error is ours we
will, of course, correct it.
is a very subjective thing and musicians and music
arrangers are like--a whole different species. It's what makes us all unique.
The main thing is to enjoy these charts--and order more!
If you have any questions or comments give us a
call: (928) 541-0797 or 1-888-468-7700 Toll Free.
We are Mountain Standard (no daylight savings) time.
Or email us at: