My Philosophy
For me the question of who will be performing my arrangements and compositions is paramount. Whether singers or instrumentalists, I want them above all to enjoy what I have written for them, to find the end result rewarding, stimulating and satisfying to perform. In my experience when performers are enjoying what they are doing they are more likely to win over audiences. And when audiences feel they have heard an effective and captivating performance then they too are happy.
As far as the nuts and bolts are concerned I regard the form of a piece as critical to its ultimate success – it must be neither too short nor too long, fit for purpose with enough variety and imaginative elements to maintain musical interest (for example a new introduction or perhaps a modulatory interlude, to mention just a few possibilities). Like a good translation, I believe a good arrangement should remain true to the spirit of the original, but at the same time work convincingly and idiomatically within its new parameters – as if that’s how it was always meant to be!
My Competence
To live up to this challenge, and recognising that every situation is different, I not only draw on my theoretical knowledge of instrumental and vocal writing but also on my years of experience as a pianist, accompanist and repetiteur. All this has given me a good understanding of how performers think and what they need, whether professionals or amateurs. On top of this I have an extensive background of teaching and conducting a school orchestra, giving me an in-depth sense of the particular nature of educational music. I am at home in the classical and jazz worlds and open to all musical styles and genres. I am fussy about details but aim to be pragmatic too. I pay a lot of attention to good, clear, legible presentation, working with Sibelius and Dorico.
“There are simply two kinds of music, good music and the other kind” – attributed to Duke Ellington, 1962