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 AND NOW, A NEW FEATURE!

WHAT'S NEW, NEW ARRANGEMENTS, MUSIC ANECDOTES/WAR STORIES, HELPFUL HINTS, BIOGRAPHIES, ETC.
LAST UPDATE--06/05/08

(Also on this page you will find our return policy.  It is near the bottom of the page where it belongs)

WHAT'S NEW
We are happy to send our arrangements as PDF files 
so that there will be no shipping charge to you.  
Please remember...That some of our charts are handwritten manuscripts
 and after scanning they will not be quite as crisp when sent as PDF files.

If you want to check out a really unique and interesting bunch of musicians, try this site. It is great! www.jumbocircuspeanuts.com 

NEW!  A book/CD bundle of 6  jazz piano pieces for the intermediate student.  Listen to the recording as you play along!  Also, we now have Jazz Standard arrangements available for Big Band with strings, small orchestras, string and brass quartets, etc. These are all from Joe Cea, nationally known pianist/arranger/composer. You can read his Bio below. These arrangements  and the jazz piano book are in the "J" category on the ARRANGEMENT LISTS pages.

NEW!!
LISTEN BEFORE YOU BUY

MP3s of all of Dick Brodfuehrer's "D" and "BB" arrangements are available on a single CD. That's more than 100 charts!
They sound much more realistic than the MIDI versions and are the full arrangements, not just short samples.
The price is only $10.00 to cover the costs of materials, production, postage, and handling.
Use the ORDER NOW! page to place your order.

 If you would like just one or two MP3 samples, we will be pleased to email them to you at no charge,
 but be forewarned that they are large files running from 1,000 to 2,500 KB for each title.  
Note! These files are probably to big for most "Freemail" hosts. Check out the available MP3s on the SAMPLE page. 
Make your requests to; ampxyz@futureone.com (remove the XYZ before using) include your name, email address, mailing address, 
your usual instrumentation, phone number, and we will send them as expeditiously as possible.

Our newest arrangements !!

#889-D  Beatles Medley
Comment:  This is a medley of two Beatles tunes, "Can't Buy Me Love" and " A Hard Day's Night".   
Written for three saxes (ATB), 2 trumpets, 2 bones (2nd optional), and rhythm.  
Starts in F and goes to Eb for the second tune.  There are no solos.  
A good and relatively easy chart to have on hand to comply with those Beatles requests.  SAMPLE

#893-R  Barnum & Bailey Waltz
Comment: An up-tempo Waltz. A little circus, a little polka and a great piano part. 
Actually a very nice arrangement and a lot of fun to play. Has a pretty great rhythm part!  SAMPLE

#877-R  Bridge Over 
Comment:  Yup! It is that "Troubled Waters" song. 
There is a strong piano part in this one. 
The 3 horns carry the leads mostly but the piano has many solo interludes in the piece. 
Very reminiscent of Simon & Garfunkel only a lot better. 
Ed: (No problem with this arranger's hubris...no, not at all.}  
For alto, tenor, trumpet and rhythm. 

#883-BB  C-Jam Blues
Comment:  A "-D" arrangement.  Basically, a big-band (5/4/4/3) version of #637-D.  
This is also known as "Duke's Place".  Goes from nice quiet piano to hard swinging ensemble and back again.  
A 12-bar solo chorus can be repeated as often as necessary for more or longer solos. 
The arranger says this one will be fun to play and a real crowd pleaser, and he is never wrong!   SAMPLE

#880-R  Downtown Blues
Comment: A 12 bar "F" blues chart. A slow easy blues with alto, tenor (or Bone), and trumpet swapping the leads. 
This is a 12 bar blues with 6 different choruses for the leads and harmonies. 
Nice rhythm part and you can improvise the lead if you wish instead of using the written lead. 
A super low-down blues arrangement.  SAMPLE

#892-D  It Had Better Be Tonight
Comment:  Also known as "Meglio Stasera," this is a samba written for 3 saxes (ATB, 2 trumpets, 2 bones (2nd optional) and rhythm.
 It is in Gm and features an ad-lib piano solo in the middle chorus. 
Pink Panther fans will recognize it as the tune sung in Italian and featured during the ski lodge scene

#387-R  I Want A Sunday Kind of Love
Comment:  A Louis Prima tune in the Louis Prima Style. A very fascinating arrangement of this classic bluesy piece. 
The lead is in the alto and trumpet with the tenor playing a subtle but quite interesting counter-melody. 
For alto, tenor, trumpet, bone (can be dropped), and rhythm. 
Has an open middle chorus for solos or you could probably make it work as a vocal if your feeling a little like Keeley Smith. 
God!...All these old names I am dropping  makes me feel like a dinosaur. And if you recognize them then you're a dino too!

#888-D  Jingle Bells 
Comment: This is a direct quote from the arranger; 
"I think it is a decent chart, but I'm all out of inspiration for writing a blurb". 
Well…You listen to the sample and I know you will agree that his quote is one of the biggest understatements heard in a long time. 
This is more than decent...This is a great chart! If it has to be Jingle Bells then this is the arrangement for you with out a doubt. 
Written for 3 saxes (ATB), 2 trumpets, 2 trombones (2nd optional), rhythm. 
Starts in Bb and goes to C for the last chorus. Short (8-bar) ad-lib solos for tenor, trumpet, trombone, and piano.
SAMPLE

#881-BB  Kansas City
Comment: A "-D" arrangement. This is similar to #672-D (the comments on it are on the title page), 
but scored for big-band 5/4/4/3.  SAMPLE

#890-R  The Lady Is a Tramp
Comment:  This is one of those arrangements that sometimes come out better than you imagined it would. 
Great fun for the audience and for the band. The arrangement uses three choruses in which each horn has a solo lead, 
then ad lib solo, and then the ensemble, and followed by a solo lead out. Very interesting. 
Of course the solo sections can be farmed out to anyone. For alto, bari (we can make this a tenor or bone if you like), trumpet and rhythm. In Eb.

#882-R  Love Potion #9
Comment: Yeah!…It's that Herb Alpert thing, Only this one is for a 3 or 4 horn combo. 
The alto and trumpet trade the leads while the bari or bone plays a little nice rhythm counter-harmony. 
There are also some very nice piano solo parts. For alto, tenor (can be dropped), bari or bone, and rhythm. 

#884-R  Only You
Comment:  Another one of those take-offs of a "Platters" hit. This one is definitely better. 
The trumpet and alto trade the lead back and forth and while all of that beautiful music is being played, 
the bari or bone is playing a very melodious counter melody.  Whew!! 
For: Alto, bari or bone, trumpet and rhythm. You can have a tenor part if you like.  SAMPLE

#876-BB  Redwing
Comment:  A "D" arrangement.  Same as #844--only scored for big-band 5/4/4/3. 
It is a 1940s style swing with easy to moderate difficulty---more easy than moderate. 
Ed: Listen to the sample and you will have to have it. A very nice arrangement.  SAMPLE


#879-R  Smoke Gets In Your Eyes
Comment:  If you liked the original Platters' version you will like this one. 
If you don't remember the Platters good for you, but you will still like it. 
Has a very nice rhythm part and great harmonies among the 3 horns. 
The bari or bone starts out with the lead and then it goes to the alto and trumpet with the other horns comping. 
The middle chorus can be used as a vocal or for solos. Alto, bari or bone, trumpet, and rhythm. 
A tenor part is available but is not needed.  Ed: All of the "R" charts have very nice rhythm parts. 
(Rhythm being piano, bass and sometimes guitar. We do not usually write drum parts for combo arrangements.)

#878-R  Sound of Silence
Comment:  Another S&G piece brought to you by the great arrangers at AMP. 
Features 2 horns trading leads with the tenor carrying a counter-melody. 
Repeats allow for a 2nd chorus solo section if wanted. Alto, tenor, trumpet, and rhythm.  
Can also be for alto, bone, trumpet and rhythm.  Just let us know which you want.

#886-BB  Stardust
Comment: A "-D" arrangement. This chart begins with a trumpet solo in Db. 
The Billy Butterfield solo from the Artie Shaw recording is cued in case the trumpet player wants to use it. 
The key changes to Eb after the trumpet solo, and then there are solos for tenor sax and trombone. 
The chart is for big-band (5,4,4,3) and in the Artie Shaw style, but not an exact copy of the record. Note from the arranger: 
I haven't described this as being a big-band version of 753-D because there are a couple of major differences. 
The biggest difference is the last chorus. It is all ensemble, not ending with a trumpet solo like 753-D.  SAMPLE


#894-R  That Old Devil Moon
Comment: A nice slow ballad that features the trumpet and alto with the leads, 
and a terrific counter-melody being played by the bari or bone.

#891-R  Waltzing Matilda 4/4
Comment: The national song of Australia, but never in 4/4.  Why in 4/4? I asked the arranger, and he said because he felt like it. 
It's the old bulldog syndrome. Why does a bulldog lick its parts? Because it can!. So there you are! 
Because he can...That's the reason he wrote Waltzing Matilda in 4/4. 
Not a bad chart, however.  For alto, tenor, trumpet, and rhythm.  In Eb

#887-BB  What you Ain't
Comment:  A "-D" arrangement. Big-band chart (5,4,4,3) in Ab. 
An original up-tempo tune based mostly on the changes to "All the Things You Are." 
Thus the title; "What You Ain't." The middle chorus repeats as often as needed for additional solos. 
This is a hard driving swinger that is a good showcase for your jazz soloists.  SAMPLE



THE FOLLOWING IS A PAID MUSICAL ANNOUNCEMENT!!!
There are a lot of websites that offer free sheet music to download. 
Remember, when you get it, most of the instruments are going to be in the wrong key and in the wrong range. 
If you have the right software (and know how to use it) you will spend hours making it work. 
All you will have then is some programmer's/sequencer's idea of what a Jazz tune should sound like. 
Ours are what long-time Jazz musicians/arrangers think the tunes should sound like, and they are very very good.

MUSIC ANECDOTES, WAR STORIES ETC.

IF YOU would like to see some new "War Stories" here , please send us some of yours.
I am sure they will be fascinating. Let us know whether or not you want your name and email published
ampxyz@futureone.com  (remove the XYZ before using)

This from Rick Rhodes:

I play fundraisers for school music programs twice a year in a group called "The Together Again Band".

Here is a little history on how we got our name.

Eight years ago I ran into John Putnam (the "O" arranger, and the music teacher for my wife and I in the 60's) at a friend's house here in Prescott, Az.  He was visiting from Columbus, Nebraska where he now lives and teaches at a university. We were talking about music and I told him I had a group that played locally and that I did a little arranging for them.  He asked if I would be interested in some of his arrangements, and of course I jumped at the chance. These are amazing charts!

John called me shortly after the charts arrived and proceeded to go through them with me explaining tempos, dynamics, style, etc.  As we were talking he mentioned that he would be coming out to my area in a month or two and would I be interested in getting some guys together, and we would run through some of his music and just jam. 

John's charts used a different instrumentation than I used in my group so I randomly chose some people I had been familiar with, or had heard about, from Prescott, Phoenix, and Scottsdale Arizona. I just told them that I had a friend coming in from Nebraska and we were going to just have fun and play some of his arrangements. They were: Will Stuart-trumpet, Harry Woolard-bass, Dale Dombey-alto/tenor, Ed Cassling-trumpet, Ed Holmgren-alto/tenor, myself-tenor/bari, Kirk Higgins-drums, and my son Mike Rhodes playing guitar.  John did not know who I had picked, just that I had found some guys.  Again let me remind you that this was just a random choice that I made. When John walked into my house and looked at the people I had invited to jam with us, he got kind of a strange look on his face. He looked at Will and Will looked at him and said "John I haven't seen you since we graduated from Phoenix Tech together in the 50's.  Will looks at Harry and says: "And Harry I haven't seen you since we played "Shakeys' Pizza, Kohl's Ranch, and the Prescott Pine Cone Inn together in the 70's".  Dale had played with Will for years and was familiar with some of John's teachers and friends from the early days. I of course was John's student and had played off and on with some of these guys for a few years never knowing that they were all acquainted.  My son, Mike, is now the son-in-law of Kirk the drummer. And now, out of the blue, I was approached by a member of John's early group, named Wes Ridley, about playing with us on our fundraisers.  (And he will play when next we get together.)  Hence the name, "The Together Again Band".  Isn't this great!


Also from Rick Rhodes:

A story about John Putnam-the "O" arranger. 

John took mostly music classes in a special school in Phoenix called appropriately enough "Phoenix Tech". One of his classes was on arranging, and the class was given an assignment of doing a jazz chart. They were to pick the instrumentation and style. John (who was 15 at the time) chose to do a big band chart in a style that he thought would be like "Stan Kenton", who was very big in the 50's.

Shortly after John had finished his chart (and got a pretty good grade on it) he discovered that Stan Kenton and his band were coming to the Phoenix area and would be playing at the "Riverside Ballroom". He says that being the arrogant/naive 15 year old that he was, he thought he would just take his arrangement to the Kenton concert and see if Kenton would look at it.

During one of the band's breaks he found Kenton in the bar and just walked up to him, introduced himself, and asked Stan to look at his arrangement. Kenton did agree to look at his arrangement later if John would leave it with him.

John then decided to stay and watch the rest of the concert. When the band came back from their break, Kenton announced that he had received an interesting arrangement from a young man earlier in the evening and the Kenton band was going to play it! John was floored. But never so much so as when Kenton announced that the young arranger was also going to direct the Kenton band in the playing of the chart. Somehow, John was able to get up on the stage and run the Kenton group through his arrangement. I am told it went pretty well.

This was the start of a friendship and working relationship between John and Stan that lasted until Kenton died. John did many fine arrangements for the Kenton Orchestras over the years, including "ghosting" one whole side of "The Ballad Style of Kenton" album. This album is available at www.Amazon.com . Some of the arrangements from that album are available from us. They are in the "-O" section and are marked accordingly.

 If you would like to send us some of your amusing experiences or some helpful music hints  e-mail us at 
ampxyz@futureone.com  (remove the XYZ before using) Tell us if you want your name and/or e-mail published.

BIOGRAPHIES

John Putnam-Arranger of the "O" category and some of the Big Band charts

John is a music educator, composer, arranger, pianist, and a published poet. He has toured with many "big name" bands and "ghost arranged" for Stan Kenton for more than thirty years. He recently retired after serving as a Music Educator for 41 years. During that time he also served, and will continue to serve, throughout the country as an adjudicator, clinician, and mentor in music.

John's career began in 1959 as the Band and Choral Director at Agua Fria Union High School in Avondale Az. In 1965 he went to McClintock High School in Tempe, Az. and in 1971, he inaugurated the music program at Central Community College-Platte Campus in Columbus, NE. He has toured with his musical groups all over the USA and the world. But even better than that, his musical groups have performed at Disneyland/Disney World more than 30 times.

Although John says he was never a child prodigy, he was already playing professionally at dances at the age of 13. He was only 15 when he met the famous bandleader Stan Kenton and became his friend. It was that year that Kenton-at a concert in Phoenix-tried out one of John's arrangements for the first time. For several years, John arranged music professionally for Stan and toured with his regional bands in the Southwest. He had his own jazz band for six years and composed and arranged for a variety of choirs, jazz and concert bands. His charts have been played and recorded by many very well known artists.

John holds a bachelor's degree in instrumental music and a Master of Art's degree in choral music and humanities.
He is a cousin of Dick Brodfuehrer (the "D" arranger) and twice a year plays fundraisers in Arizona for school music departments with Rick Rhodes ( a former student and the "R" arranger) and his group. This band is called the "Together Again Band" because it is made up of a group of guys-from all over-that have been associated with John through the years.


Richard Brodfuehrer-Arranger of the "D" category and some of the Big Band charts

Dick organized his first group, a five-piece combo, and played his first professional gig when he was 16 years old. They almost immediately booked a six month engagement at the Eagles Hall in Columbus, Nebraska.
During his freshman year at the University of Nebraska, majoring in music education, he organized the "Rick Burgess Nu-Tones" that played dances and had a weekly program on the university radio station.

After his freshman year he enlisted in the U.S. Navy and attended the Navy School of Music. He spent most of his time there not as a student, but on temporary assignment to the arranging staff as a copyist. He then did tours with the Sixth Fleet and Atlantic Fleet Bands.

He organized the "Dick Burgess quintet in 1956 to work as the house band at "The Casino Ballroom" in Virginia Beach. When the season ended he returned to Nebraska where he worked with, and arranged for local dance bands and jazz groups. He played show band gigs with groups such as "The Lettermen", "Paula Kelly and the Modernaires", "The Four Freshmen", and "The Ice Capades". He also spent eight years with an Army National Guard Band where he led the stage and dance band section.

He abandoned his musical career in 1964 to take a job as a traveling auditor. He retired as Director of Auditing for a large oil company in 1997 and found a renewed interest in music arranging and composition.

Dick is also the author of the book "Horns And Stuff" which is a compilation of informal notes that he has referred to again and again over the years. It is a useful tool, especially for musicians new to arranging. It contains notes on ranges, registers, and characteristics of instruments most often associated with stage and dance bands. It also contains a fairly comprehensive section on Latin instrument rhythm patterns and a basic chord chart. There is more info on this book on the "Order Pages".



Douglas Smink - Arranger of the "S" category and some of the Big Band charts

Douglas is originally from the Baltimore, MD, area.  He wrote his first arrangements while in high school.  In college, he studied harmony and counterpoint with composer Robert Stewart, played in university musical groups, and led his own dance band.  As a student at Berklee College of Music (Boston, MA), he studied arranging with John LaPorta and saxophone with Joe Viola.  While teaching at the high school level, he composed, arranged, and conducted for various musical ensembles.  He was also co-director of the Worcester (MA) community Youth Band.

Currently living in the Washington, DC, area, Douglas has written arrangements for, or played saxophone, clarinet, and flute for several big bands, including Big Band Tradition, Band for All Seasons, HOTS Jazz Orchestra, Richard Bray, Frankie Condon, Doc Dikeman, and James Bazen.  For over 20 years, he has performed on clarinet and saxophone with the Village Jazz Band, a traditional jazz band for whom he has written some 50 arrangements.  From audiotapes, he has also transcribed big band and small band arrangements and constructed lead sheets for a published fake book.

Now retired, Douglas devotes much of his leisure time to arranging and playing music. His arrangements have been commissioned by and sold to groups throughout the country.

e-mail: DISminkxyz@aol.com (remove the XYZ before using)
URL: www.john-mcvey.com/DISmink

Rick Rhodes- Arranger of the “R” category and some of the Big Band charts-says that being on this Bio page after the others, reminds him of what George Gobel said after having to come onstage on the Tonight Show and sit between Bob Hope and Dean Martin. George said: “ Have you ever felt like the whole world is a tuxedo, and you're a pair of brown shoes!"   Well here goes.

Rick was born and raised in Phoenix, Az. and now resides in the mountain town of Prescott, Az. He has played reeds since he was nine years old.  Rick is still primarily a reed player though he does play piano once in a while, and stand back if he picks up an Ocarina. His first professional gig was at the age of 11.

He continued to play on through high school where his music teacher was John Putnam, the arranger of the “O” charts, and an arranger for Stan Kenton for many years. In high school Rick toured with the Concert Choir and the Concert Band and was chosen to go to M.E.N.C. as one of only 10 members picked for the whole state. 

Though he never gave up playing music completely, he received his commercial pilot’s license on his 18^th birthday and flew air ambulance, crop dusters, flew freight into Mexico, taught advanced aerobatics, and was a corporate pilot.

 Having moved to Prescott in the 70’s with his wife and 4 sons, Rick joined the Prescott Community Band with his sons and got back into structured music.  He was a featured soloist with the Prescott Symphony Summer Pops, the Yavapai College Big Band, and others. He has played in many bands in his local area-- including pit bands, big bands, combos, and has had his own small group for fifteen years. Rick says he has been very fortunate to play with many well-known musicians, such as:  Mel Zelnick (Benny Goodman drummer), Joel DeBartelo (The Tonight Show Bassist for 20 years), Dick McCord (Spike Jones and Igor's Jazz Cowboys), and Nigel Burn (a great UK clarinetist/saxophonist that played his first gig at the “Samson and Delilah Ballroom” in 1936 in London), among others. Rick and his primary combo-"The Easy Street Jazz Band"-are well known in the Northern Arizona music community.

One of his proudest moments was being featured with his wife and two of his sons on the ABC network show “Arizona’s Families “ for their music!  Even though he is a business owner, he devotes quite a bit of time to doing arranging for his groups, and-with John Putnam- playing benefits/fund raisers for school music programs, assisted living centers, etc.

Terence Martin-Arranger of the "M" category-says that if Rick Rhodes feels like a pair of brown shoes, then I'm a pair of flip-flops.

Terry’s musical training started informally with his grandmother who played in the Schenectady Symphony (not famous and now non-existent) and had an all-girls dance band in the 1920’s and 30’s (good, but not famous).  He took 5 years of piano lessons from Ken Kelly (good, but not famous).  At Scotia-Glenville High School, he sang in the “Choralaires,” the good but not famous select chorus, and took his one and only music theory class from “Doc.” Sullivan, the excellent, but not famous, director of the school’s music department.  Between his sophomore and junior years, he taught himself how to play the saxophone so that he could play in the good but not famous high school stage band.

In college, he played tenor sax in the EXCELLENT and FAMOUS University of Michigan Marching Band (http://mmb.music.umich.edu).  After graduation, the saxophones spent many years in their cases, untouched.

For the last 16 years, he has sung in the excellent but not famous choir at the First Church of Christ, (www.firstchurch.org) Wethersfield, Connecticut.     

When his son started to take sax lessons, he started to arrange simple duets to play together.  Soon thereafter, he tried a few ragtime saxophone quartet arrangements just for the fun and challenge of it.  On a whim, he sent a note to the Royal City Saxophone Quartet (their CDs are awesome! www.studiospace.com/rcsq/), and they were interested in trying some of his arrangements.  On October 3, 2003, they played “Frog Legs Rag” at the Ragtime Festival in Erin, Ontario, which was the world premier performance of any Martin Sax Quartet Arrangement. 

Terry makes his living as an actuary ( www.soa.org and www.actuary.org ). He arranges music purely for the love of it.

Pianist and Arranger Joe Cea is one of the most versatile musicians and entrepreneurs working in America today.

Born in Brooklyn, NY, Joe has not only worked at the premiere performance venues of his native, NYC, Including Lincoln Center, The Rainbow Room, and Tavern on the Green, but has also traveled extensively throughout the world, accompanying such artists as Steve Allen, Jim Nabors, Dizzy Gillespie, Robert Merrill, Joan Rivers, Donald O’Connor, Rodger Williams, Bobby Rydell, Bobby Vinton, Pat Cooper, Pepper Adams, Charo, Kenny Burrell, Enzo Stuarti, Eddie Daniels and Mike Andrew.

Joe’s traditional style of solo jazz playing has been compared to that of Art Tatum, Oscar Peterson, and Dave McKenna. Dick Hyman, who was “pleased to hear” Joe perform, has called him, “a good, swinging player,” and Clark Terry has described his playing as “beautiful.”

His arranging projects have included “Rhapsody” for Stereophile records.  His TV appearances include “Live With Regis and Kathy Lee.”

Besides performing in concert, outdoor festivals, and for private functions throughout the US, Joe is also president of Cea Productions.  Joe Cea, on piano or keyboard will lift your spirits to another place and another time.  

Robert Varnado-Arranger of the "V" category

Robert is a native Texan raised and currently living in Mesquite (just east of Dallas).  He has been married to his lovely bride, Rebecca, for thirty years and they have one son, Matthew.  Robert earned a bachelor of Music Education from East Texas State University (now Texas A & M University at Commerce) in 1976 and has taught strings in the Mesquite ISD for a couple of years.  He then went into a family owned construction business for the next 20 years.  Robert earned an MCSE ( Microsoft Certified Systems Engineer) certification in 1998 and is currently working as a Desktop Support Specialist and Crystal Reports/Enterprise Administrator for Aviall Inc. in Dallas.

In 1986, he was a Charter member of the Mesquite Symphony Orchestra.  For seven years Robert was Viola section leader, player representative on the Board of Directors, as well as equipment and stage manager for the Symphony.  In other words, he was the "work horse" who made sure that all the chairs, stands, and percussion equipment for from the rehearsal facility to the concert hall and set up, and back again.  Robert would still be doing these duties except that politics got in the way of the music...as usual.  He also played with several community groups around the Dallas area for various functions and activities.

In 1990, Robert joined a local church and became very involved in the music programs there.  He was a member of the chancel choir and various ensembles as well as the Bell Ensemble where he was responsible for up to thirteen bass bells at any given time.  Robert was also the youth Choir director for a short time, a Deacon, and member and officer in the Men's Council.

In 1991, Robert joined the First Desk Quartet.  The FDQ was formed in the early 80's by James Gaskin who was a classmate of his and fellow 1972 Graduate of North Mesquite High School.  Their quartet is technically a "Flute" quartet with the first part being played by Lisa Cordova who is a music educator in the Dallas ISD.  this is the reason that most of Robert's arrangements are written for flute, violin, viola, and cello rather than the traditional violin I & II, viola, and cello.  However, he is sure that most-if not all-of the flute parts can be played by violin without any difficulty at all.  He started doing these arrangements a few years ago because they needed more "pop" type of music as opposed to the strictly classical selections.  The hope was that this would make their group more marketable and, so far, it seems to be working.


Arthur Funk-Arranger of the "F" category and the "CB" (concert band ) charts

Arthur Funk is a working musician, composer, arranger, and bandleader with over 20 years of experience.  He has written for everything from polka bands to symphony orchestras, and has his music used in pit orchestras.

  Dick Brodfuehrer shares his Ten Rules for Ensemble Playing. He says he heard a couple of these years ago and has added a few of his own.   
  Please e-mail us  and add your own. ampxyz@futureone.com (remove the XYZ before using)