Have burning questions about our process or our products? Below you will find questions our customers have asked over the years, and hopefully your question will be answered amongst them. Just click on the question, and the answer will appear. If your question is not included, please contact us so we can get it answered for you!
It’s really the same as purchasing anything on the computer: you can shop the various music titles, place whatever you want in the cart, and make the purchase with payment either by credit card or PayPal. When the purchase is made, the files of music will automatically appear in your computer in the ‘download’ section. You can then open the file, print the contents, and go to rehearsal! That’s it!
My school deals with purchase orders from venders, such as music stores. Can you accept a purchase order?
We are happy to fill out the forms to become a vender. Since everything is done through the computer, I suggest that you get an acceptable allowance from the school to make your purchases, and then submit your order receipt for reimbursement to apply against your allowance.
Two things: first, it’s immediate! You can literally go to my website, find what you like, order it, print it out, and rehearse it in minutes. Two, it is less expensive than purchasing music already printed, and there is no shipping cost.
Yes, every title is accompanied by a complete audio file along with a page of score that shows the instrumentation required.
There was some mention about sending you a performance audio or audio/video and receiving free music in exchange. Can you tell me about that?
Absolutely! I wish I could have every piece in my catalogue with a live performance. The computer-generated files play all the right notes and right rhythm, but it still lacks the human involvement and nuance. So I encourage anyone who purchases my arrangements to please send a recording of the performance, and I will not only publish it on my website, but will give proper credit to the director and ensemble. And I will offer any title in my catalogue of similar value free for allowing me to use your performance.
Content! Because of our relationship with Oxford University Press and others, our catalogue contains compositions by many composers whose music is copyrighted by OUP, and therefore is not necessarily available from other sources. Our catalogue of music by John Rutter is extensive, with over 130 titles of his music alone; there are numerous titles by William Walton and Ralph Vaughan Williams that are unique to our catalogue. And there are many other composers, Philip Lane, Gustav Holst, Gordon Jacob, David Willcocks, Matthew Curtis for example, whose music I have selected because of the tenets which I hold dear, called British Light Music, with a focus on melody, orchestration, duration, and audience appeal. It's worth mentioning that earlier in my career I had an aversion to transcriptions. After becoming aware of the fact that many composers transcribe their own music, that they frequently compose either for ensembles available to them or their favorite set instrumentation, it confirmed for me the fact that the worth of the music is not in the medium, but in the work itself.
I see that a lot of your arrangements include chorus with band. How does that work, and what if I don’t have a chorus?
Good question! For years I have been a proponent of combined band and chorus concerts. Why not!? It gives the audience a wider variety of music to experience, it brings a new dimension of compositions for the students, and it should double the size of your audience. But here’s the thing: I have arranged the music for combined band and chorus so that it can also be performed by band alone. This began largely with John Rutter’s compositions which are so beautifully orchestrated that the essence of the music need not necessarily depend on the singers alone for meaning and beauty.
Some European bands have different parts and different transpositions. What if I get your music and don’t have all the parts I need for my band?
Please don’t spend your time trying to write out a new part for your band. Just email me at Paul@Bandmusicpdf.net , tell me what you need, and I can click a few buttons and produce your new parts quickly and email them to you. And there is no charge for this.
It doesn’t usually happen, but occasionally someone either can’t find the file or something electronically happened. I have it set so that only one download per purchase is allowed. But if I have received payment for a purchase and you didn’t get it, just let me know and I will email you the file.
Extensive program notes and photos of composer and arranger are included with each score which you may use for your concert.
I will consider commissions for premiere performances, or suggestions for new arrangements. Several of my arrangements have come at the suggestion of a customer.
What if I don’t want to take the time to print out the music, can I get it already printed and with multiple parts?
Absolutely! There are several distributors that handle my arrangements and offer them in print: J. W. Pepper, Midwest Sheet Music, Accordi Music (Europe), Studio Music in the UK and beyond, and others.
Thanks for asking! First, if you are a director at any level from elementary through college/university and professional ensembles, whether band, orchestra or choral, I have walked in your shoes. I started arranging music while still in high school, and continued by arranging the graduation finale for band, choir and tenor soloist for Shenandoah Conservatory of Music. Studying arranging at Indiana University and at the doctoral level with The Catholic University of America, I then taught arranging at Shenandoah Conservatory. I studied orchestral conducting with Lloyd Geisler, associate conductor of the National Symphony Orchestra in Washington, DC. Now in my retirement years, I have the time to pursue arranging with the hope that it will become my lasting legacy to the world of bands. I am happy to now see literally hundreds of bands from around the world are performing my arrangements. It has been a rare privilege to work closely with Oxford University Press (founded in 1478), and through them with The Walton Estate, The Vaughan Williams Charitable Trust, who provided the rights for the first historical publication of Vaughan Williams’ England’s Pleasant Land, and with The Gardner Estate, who encouraged the publication of English Dance Suite. I was elected Associate Member, American Bandmasters Association and hold honorary Life Membership in Phi Mu Alpha and Kappa Kappa Psi fraternities. Shenandoah University honored me with the Distinguished Alumnus Award for Lifetime Achievement.