Welcome to rickwalshmusic.com

About me

About Rick

This is the site for San Francisco musician and arranger/composer Rick Walsh. Rick plays the trombone and bass. As an arranger Rick has studied with Herb Pomeroy, John LaPorta, Marty Paich and many others and brings those sensibilities to his craft. 

Current projects

Look for Rick's arranging prowess on the new release by Dale Head "Swing on the Rocks"


Free advice!


    1.) Make sure that all parts will have a different number of total
    measures. Give some players repeats and others, no repeats. Give some
    players 1st and 2nd endings and others, none.

    2.) Do not include rehearsal letters, bar numbers or anything else that will
    help musicians locate the actual music being rehearsed at any given time.

    3.) Give all members of a large ensemble page turns at the same time. That way the fluttering of pages will be deafening...

    4.) Make all page turns occur when a crucial melodic or harmonic or rhythmic event occurs, that way it will be botched.

    5.) Do not consider page turns at all! Assume all musicians are capable of
    playing their instruments with only one hand.

    6.) Have the brass change mutes in less than 6 seconds. (Make sure the
    condenser mikes are placed closely to pick up the resultant cacophony).

    7.) Do not cue any actual musical events on any part at any time. Keep 'em guessing.

    8.) Group multi-measure rests in increments larger than 32 bars. "Hey was that 29, bars or 28?"

    9.) Place woodwind doubling changes concurrent with page turns. In other
    words, turn the page, discover that you are now on Oboe rather than English

    10.) Do not number each bar.

    11.) Place fermata in some bars, for some some instruments, and not for
    others. Make sure everyone has a different number of total fermati.

    12.) Place a "Segno" marking in a place that will be hard to locate, and
    that will necessitate turning the entire arrangement back several pages, for
    the sake of say, 6 bars, then turning forward for the coda. By all means,
    do not write this out in full.

    13.) Do not label each page of your copywork with Title, Instrument, and
    Page Number. That way when everything eventually deconstructs, you will have absolutely no way to put it back together.

    14.) Change the key signature often, but do not put the key signature on
    every line. Force your players to seek the key signature in effect at any
    given time. Keep 'em guessing.

    15.) Provide tempo changes (and fermata) to some parts, but not others.

    16.) Provide drummers with a layout that does not reflect the phrasing of
    the arrangement, just give them slashes for 63 bars or so, and do not cue for them any events. Make sure the drummer gets lost.

    17.) Leave out the initial tempo marking and style of any arrangement. That
    way, someone will be guaranteed to raise their hand and bring the rehearsal
    to a halt.

    18.) Do not notate any dynamics or expressive markings, just write notes and rests, such as a computer would do.

    19.) Do not write out anything. Make sure you have to explain everything to
    everyone, all the time. Make sure you have to repeat your instructions to
    each member of the ensemble, personally, one on one, all the time.

    Glad to help!


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San Francisco, CA, US

(415) 584-8943