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Have you ever wanted original music composed for your film, game, concert, or other project / event? Are you a songwriter who desires to have your music scored for a different combination of instruments, a band, or even full orchestra?
I believe one of my major strengths as a musician to be my versatility -- though I began my musical journey with classical training, I have since become quite accomplished at performing and composing in a variety of other genres, particularly Jazz, musical theatre, Rock/Metal, and Electronic music (both the concert and dance varieties). I have been commissioned to write in many styles, and approach every compositional endeavor with an equal amount of seriousness and attention to detail.
I am also comfortable with writing for ensembles of practically any size or combination of instruments. From solo instrumental pieces, to jazz bands, to full orchestras, my most crucial goals in composing or arranging any piece are to emphasize exactly what makes that particular ensemble unique and to create a score that is both idiomatic and as clear as possible.
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The process of typesetting (commonly known as “engraving”) or producing a professionally notated score that is then ready to be printed and published is an art form in its own right. In addition to making the score as clear and legible as possible, an experienced copyist also endeavors to make the score visually appealing as well. The most accomplished copyists can even make the score reflect the character and mood of the music.

Composers do not commonly focus on these aspects of notation -- their primary goal is to get the music on the page, and as long as the result is clearly understood by their performers, they rarely see the necessity to spend an excessive amount of time producing a score that is beautifully typeset.

Sadly, many music publications today lack the visual elegance that can be found in many older scores, and many contemporary composers often express frustration with the fact that their scores never seems to look the way that they imagine they should.

I have always been unlike other composers I have come across, having also felt a compulsive need to make my scores resemble professional publications to an extent that borders on obsessive. The result, however, is that I’ve become quite adept at using music notation software, being able to input music at an unusually fast pace and tweak every note, articulation, stem, beam, etc. until the score truly catches the eye.

Barring the fact that I use Finale exclusively, I offer my clients a variety of options regarding how they want their scores to look, letting them choose the fonts, visual style, note size, and other aspects of notation. When typesetting, I work relentlessly toward creating a score that exactly meets the client’s specifications.

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My music career began with the piano, and it is still today as much a part of my life as composing. I specialize in Classical repertoire, but have also studied and performed Jazz and other genres extensively. Having devoted a significant amount of time learning repertoire that is considered extraordinarily difficult (Sorabji, Godowsky, Alkan, etc.), there are now very few pieces in the standard repertoire that intimidate me. 

I am always thrilled to learn, perform, and record works by new composers. I was well-known at The Hartt School for frequently performing pieces by my fellow composers, and am eagerly looking for more opportunities to add new, unique works to my repertoire. If you have written a piano piece, I would be more than happy to take a look at it. Prices for recordings and such would be negotiated based on the length and difficulty of the work.

Also, for those living in New England, I will gladly consider traveling if you choose to hire me. I am open to performing in any type of event or venue. My rates will vary depending on the time commitment, amount of music needed to be performed, and travel expenses.

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Detailed information about the variety of services I provide.