MUSICAL TRANSCRIPTIONS & TRANSPOSITIONS

• Transcriptions from printed music, handwritten music, or recordings ("take-downs")
• Transpositions
• Piano arrangements from leadsheets

Contact me for my per-page rates; I offer hardship discounts and lower rates on bulk projects.

Note: Not all transcribers were created equal.  Far too much computer-generated music is littered with incorrect enharmonics, poor spacing, missing accidentals, and awkward page-turns, any of which is the undoing of even accomplished audition pianists. My work is free of these common pitfalls.

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

COACHING

Ideal repertoire should be selected as quickly as possible, so that you can get to the real issues:  vocal technique, analyzing the song's lyric and dramatic underpinning, and crafting an integrated, unique, and unassailable performance.

Unlike many coaches, I teach vocal technique. Vocal issues are the first disqualifier in auditions. The most accomplished singers can find technical tips handy for unique challenges. Actors-who-sing can land great roles very handily with even a few simple vocal tips.

I study with vocal teacher and therapist Dr. David Fairchild. His students have included 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 previously studied with Carmine Gagliardi, who taught Patti LuPone and was Hal Prince's vocal guru for his shows in the '70's and '80's.

The main vulnerability I've observed in thousands of auditions is the acting.  Many terrific singers haven't prioritized acting in their training, and acting standards in musical theatre are below those of non-musical theatre.  Acting drives the musical performance – not the other way around.  When I conduct, it's according to the performer's acting performance – and when I coach, I have methods to help the performer unite the inseparable acting and musical concerns.

Repertoire: one look through your book will inspire a list of what I think you need. 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've been a writer, actor, and have a director's eagle-eye, which many clients have found helpful, particularly for cold readings.  

Current hourly rate: $75. My version of an hour is frequently more than sixty minutes, if we get on a roll. I offer hardship discounts.

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.