Fast, playable parts when the clock is against you.

In a recording session, the most expensive thing in the room is time. Bad parts spend it. Good parts protect it.

Every minute the orchestra spends deciphering a cluttered page, querying a wrong accidental, or waiting on a correction is a minute you paid for and didn't get music from. Parts that are clear and playable from the first read are not a nicety. They are the difference between getting your cues in the can and running out of clock.

I prepare parts the way a conductor reads them, because I am one. I know what a player needs to see, what they ignore, and what makes a section confident enough to nail a take on the first pass.

Roughly thirty years on the podium and at the writing desk. Former General Music Director of the Staatskapelle Weimar and Chief Conductor of the Helsingborg Symphony Orchestra, with conducting and arranging work for orchestras and opera houses across Europe and North America, including the Oregon Symphony and the Utah Symphony.

I have stood in front of orchestras and watched parts succeed and fail in real time. That is exactly the experience that goes into every page I prepare for you.