TRANSCRIPTIONS:  I provide computer-typeset musical transcriptions, transpositions, and take-downs (music transcribed from recordings); I use the latest and most advanced software available to exacting standards, optimized for best readability for all levels of pianists.

COACHING:  I offer high-impact vocal coaching for Broadway and cabaret performers in New York City.  I can be helpful with your singing, acting, repertoire, cold readings, audition technique, and offer more vocal technique than the average piano coach. See below.

DEMOS:  I create vocal demos in my home studio, from piano tracks to fully orchestrated tracks.

MUSICAL TRANSCRIPTIONS & TRANSPOSITIONS

I provide transcriptions from printed music, handwritten music, or recordings ("take-downs"), and provide piano arrangements from leadsheets. Computer transcriptions of music became an inexpensive industry standard years ago, and I've been at it since my first Apple computer in 1990 (I was an early purchaser of the Finale software, which continues to be updated to the highest standards of musical typesetting).  

Contact me for my per-page rate; I offer discounts on long songs and "bulk" projects.

Note: all musical typesetters were not created equal.  I've run across far too many computer-typeset pieces of music littered with incorrect enharmonics (if you don't know what they are, don't worry about it, but it doubles the chances of the pianist playing wrong notes and chords), poor spacing, inadequate accidentals, and awkward page-turns (which guarantees the instant undoing of even accomplished audition pianists). I'm not saying I'm the only one who does it right – just one of 'em.

Your music stays on permanent file on hard disk in case of future catastrophe or transposition.  



COACHING

Finding or reviewing repertoire are technical procedures to be accomplished as quickly as possible, so that you can get to the real issues:  solving vocal-technical issues, analyzing the lyric and dramatic purpose of the song, and making the song "yours" – i.e. not merely a piece of material you perform, but crafting a completely integrated, unique, and unassailable performance.

Vocal coaching versus voice-teaching:  early on, I made it my business to study voice, specifically to enhance my coaching of others. I studied first with Carmine Gagliardi, who was Patti LuPone's teacher and Hal Prince's vocal-technique guru of choice in the late '70's and early '80's. For many years now, I've studied with voice teacher and vocal therapist Dr. David Fairchild, who has taught Donna Theodore (Tony nominee and Theatre World Award winner for Shenandoah), Rikki Lake, Kate Hunter Brown (The King And I with Yul Brynner), Chloe Webb, Gerard Alessandrini, Leila Martin (Phantom Of The Opera), Toni DiBuono (Forbidden Broadway), and Regina O'Malley (On Your Toes, Les Miserables).

I offer vocal technique for those who want or need it, since vocal issues can be the first disqualifier in auditions; even the most accomplished singers can find it handy for unique challenges in certain material. Actors-who-sing can land great roles very handily with even a few simple vocal tips.

The other main vulnerability I have observed in thousands of auditions over the years is the acting, whether in the song or the scene.  Many terrific singers in both the musical theatre and cabaret worlds haven't prioritized acting in their training, and current standards of musical theatre acting are uneven from genre to genre.  Acting should drive the musical performance – not the other way around.  When I music-direct, I conduct according to the performer's acting performance – and in a coaching session, I have various methods to help the performer live and breathe the material in real time.

Repertoire: one look through your book will inspire a list of what I think you need, if anything (if you don't have a book of at least ten songs, I'll fix you up with one immediately).

As a bonus, I'll help you prepare sides, or a role; I have a director's eagle-eye, which many clients have found helpful, particularly for cold readings.  

Contact me about my hourly rates. My version of an hour is frequently more than sixty minutes, if we get on a roll.

P.S. A word about auditions:  I'll run downtown and play your audition, and this is frequently advisable. It's not always necessary – but I'm there if you need me.



DEMOS

I've done several television shows and albums in my home studio, and these same resources are yours if you need to make a vocal demo (most of the songs on the MP3 PAGE were done in my studio; all my orchestrations were done there, and some of the vocals were recorded there).  Orchestration rates are based on song length and instrumentation; rehearsal and recording is charged at my hourly rate. It takes a minimum of an hour to record a song. I burn a CD for you, and keep all your materials on hard disk for future use.

As you can hear from the numerous samples on the MP3 PAGE, I specialize in Broadway, period (20's through the Fifties), cabaret, jazz, classical, and swing.