Murtha Music Services

Whether it’s a custom Marching Band Show, a Jazz Band chart to feature a vocalist, or a special occasion arrangement to showcase a combined Concert Band, Strings and SATB Chorus, sometimes you need something that’s just not available.

I work closely with you and take the time to make sure I really understand what you want. I’ve been doing this a long time and I understand that I am working for you, you are setting the specifications and it’s my job to put it together and, just as importantly, deliver it on time!

Guest Conducting

As a guest conductor, I am comfortable in both Jazz Band and Concert Band settings and typically program my own arrangements and compositions for the event. In programing, I carefully consider the appropriate grade level for the amount of rehearsal time we have. These events are compressed and rehearsal time is at a premium. I’d rather play something a little easier really well than the opposite, the opposite is never fun for anyone. I program a wide variety of styles in an effort to make the rehearsals and concert fun and educational for the students as well as entertaining for the audience.

My background as an arranger and composer gives me a unique perspective as a conductor and educator, and I enjoy sharing the “Hows and Whys” of the music we are working on with students and directors alike.

Adjudication

I've participated in many festivals as an Adjudicator and am comfortable in Marching Band, Concert Band and Jazz idioms.

Clinics

Below are a few examples of clinics I've presented.

"Is My Solo Over Yet?" A beginner's guide to improvisation

The first time I had to improvise a solo in concert I was terrified! What should I play? What if I play a wrong note? I couldn’t wait for it to be over!

This presentation is primarily geared towards people who have never improvised (and are afraid to try), but it will also give more experienced improvisers some tools to help them be more creative when soloing.

I draw upon my own early experiences and frustrations, and will present strategies, exercises and resources to help you (and your students) avoid some of that. My goal is to get you on the path to enjoying the chance to improvise instead of dreading it.

Bring your instrument or voice…this is a hands-on clinic! I’ve presented this several times and it’s always a lot of fun! 

"Getting the Rhythm Section Going Early"

I get it, rehearsal time is precious and you have to get this chart ready to perform with your high school or middle school jazz band. Instead of running it over and over making little fixes here and there, consider this…Get the rhythm section going early!

Once everyone kind of “knows the chart,” give the winds a break and focus on the rhythm section. This strategy is really effective; once the rhythm section is working correctly it’s often just a matter of setting the rest of the band on top and the chart instantly sounds better! 

As many directors are wind players, they don’t have much experience dealing effectively with a rhythm section and often don’t know what to ask of their students. We’ll discuss and demonstrate the following:

• Effective physical set up of the rhythm section

• Roles of each instrument

• Balance in the rhythm section

• Dynamics

• Specific techniques (quick fixes) for each instrument that make an instant impact

• Comping

• Equipment

• Notational challenges (what the arranger wrote vs. what he meant)

• Triage!

Jazz Style for Concert Band

So, you’ve programed a swing chart for your concert band? Great! We’ll discuss and demonstrate style, articulations, notational issues, balance and other issues that sometimes get in the way of making your concert band swing! If you do it right your audience should be dancing in the aisles!

Why Did the Composer or Arranger Do That?

We’ll play some, I’ll talk some, and I’ll give you and your students a glimpse of how a new work comes to life, the composer’s thoughts on the process and how it’s all put together from sketch to score and parts. Typically we close with a Q and A session or tack on a discussion of “Careers in Music.”

Arranging Techniques

This is a pretty wide open session and the material covered is typically tailored to the clinic attendees and Q and A typically drives this session… Some topics discussed might include:

• Planning the arrangement / Effective pacing

• Typical functions and roles of the instrumental sections 

• Writing for young groups and/or groups with limited instrumentation

• Basic Copyright and Publication

Having worked "on the other side of the glass" for countless Pop, Jazz, Orchestra, and Band recordings, I'm able to communicate effectively with engineers and artists alike to make sure your session is smooth and successful!

Thinking about commissioning an original piece? There are many reasons to commission an original piece of music:

• To celebrate a significant anniversary of a local ensemble

• In honor of an educator's retirement

• The opening of a new venue, school, or institution

• Honor Band

• In Memoriam

The list goes on and on and I’ve written original compositions for all of the above plus some!

Students and educators alike have told me that they really enjoy being part of the process of bringing something new onto the musical landscape and they find it exciting and rewarding to be presenting the premier!

I always enjoy getting to work with the commissioning group, giving the players some insight into the piece leading up to the premier, and if possible, conducting the premier!

Your large ensemble has planned a big outdoor concert, you’ve invested significant time and money in musician salaries, rehearsals, music rental, and artist fees… and you’ve hired a sound reinforcement company to help you deliver all your hard work and artistry to your audience. Great, the only problem is the Audio Engineer doesn’t know the music you are performing, or they don’t know the conductors vision of what it’s supposed to sound like. He or she is flying blind, winging it, or in musician speak, they’re “sight-reading the gig.”

In my capacity as a Score Reader I bridge the gap between the musicians, the musical director and the audio engineer. I work closely with the musical director and the audio engineer to ensure that all the time, money and preparation leading up to your event is not left to chance!

I typically receive scores weeks in advance, listen to the multiple recordings of the programed works and then mark cues and other things in the scores that I think will be important and useful to the audio engineer. As we get closer to the event I have conversations with the musical director, personnel manager and audio engineer to help me better understand the make up of the group, the venue and the expectations.

In the days immediately prior to the event I attend a rehearsal to get a feel for the group and what the conductor is looking for musically. Immediately following rehearsal I meet with the conductor to discuss any areas that might be of concern regarding sound reinforcement.

The interaction with the audio engineer begins once the system is set up and tuned (typically the day of the event) and I always let the engineer know right up front that I am there to help. At this point I’ll have the engineer play some of the recordings through the sound system as we walk the venue to discuss what we are hearing and make any tweaks if needed.

At the dress rehearsal and sound check I communicate directly with the audio engineer as the orchestra is running the program, giving timely cues and suggestions as needed, and streamlining our communications in preparation for the event.

Just prior to the event the audio engineer and I meet to go over the cues and make sure we are on the same page. Once the downbeat happens I am at the engineers side discreetly giving cues and suggestions until the last note.

This type of service is also used for live television broadcast and streaming events and in these situations the focus also includes visual cues for the video team (‘Oboe solo coming up…’ ‘Interesting harp part coming in 3, 2, 1…’)

Again, you’ve put a lot into this musical event, don’t leave the outcome to chance!

I offer one on one online instruction in arranging and orchestration. Whether you’re just starting out or have a few charts under your belt, I take a flexible approach, discussing where you are and where YOU want to go. I can advise you on what things may be missing from your “arrangers tool belt” and how to acquire them.

I’ve been fortunate enough to make my living writing music for over 30 years in both the professional and educational fields and I’m well versed in Band, Wind Ensemble, Marching Band, Jazz Ensemble and Symphony Pops Orchestra. One thing I’ve learned for sure is that it’s a journey. Hopefully you learn something on each chart you write! Sometimes it’s “Oh that really works!” And sometimes it’s “Note to self…don’t do that again!”

The important thing is that you’re getting better!