Original transcriptions, performance editions, and athletic-band arrangements
Below are examples of my arranging work — for marching band, athletic band, wind ensemble, and chamber winds. Recorded samples are studio or live performances; the works shown here represent a subset of a larger working catalog.
Adaptation of Dan Goeller’s orchestral arrangement of Be Thou My Vision, reconceived for the marching-winds setting. Preserves the harmonic language and pacing of the source while adjusting voicing and orchestration for outdoor ensemble performance.
Edition and arrangement of Josef Zawinul’s Birdland, originally composed for Weather Report, scored for winds and brass with a supplemental drumset part.
Mashup arrangement combining Adele’s Hello with The Chainsmokers’ Closer, prepared for athletic band.
Arrangement of The Liquid by Pigeons Playing Ping Pong, prepared with the permission of the artists. Scored for the full athletic band ensemble with parts written for electric guitar and bass to preserve the character of the source material.
Arrangement of the Dave Matthews Band original for marching band. Battery and front-ensemble drum parts written by Harry Stampler.
Arrangement of Trombone Shorty’s Suburbia scored for winds and brass, with supplemental drumset, electric guitar, and bass parts that retain the character of the source.
Arrangement of the Blink-182 single for winds and brass with a supplemental drumset part. Written during the 2021–2022 academic leave of absence year as part of an ongoing arranging practice.
Arrangement of the Low Down Brass Band original for athletic band, prepared for the Butler University Basketball Band 2018–19 performance season.
Performance edition and wind-ensemble transcription of Hérold’s Zampa Overture. Programmed and conducted on the 2017 Connecticut All-State Band concert.
Historically-informed performance edition of John Philip Sousa’s The Picador March, prepared as part of the doctoral dissertation at the University of Connecticut (2012). Edition emphasizes the performance-practice conventions of Sousa’s own ensemble. Audio: live recording from the dissertation performance.
Historically-informed transcription of John Philip Sousa’s Nymphalin, scored for chamber winds: two flutes, two oboes (one doubling on English horn), two B♭ clarinets, two bassoons, four horns, and harp. Prepared as part of the doctoral dissertation at the University of Connecticut (2012). Audio: live recording from the dissertation performance.