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132 Westervelt Avenue
Staten Island, NY 10301

David Fetherolf

composer, music editor, master engraver

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 "Just because there's another way to get there, you don't shoot the horse.”  —E. Varèse


  • First, you'll need to fill out a form (under construction) to receive an estimate. This estimate will be for the entire job, including full score and parts files.
  • Once the estimate is accepted, you send us a copy of your manuscript. We prefer this in physical form, but you may also email it to us as a pdf.
  • Your manuscript will then be edited – in consultation with you, if necessary – and engraved.
  • Once engraved, the resulting score will be proofread and corrected.
  • The full score will then be sent to you for your mark up and approval and we will ask you any questions that arose in the process that haven't already been addressed.
  • When we receive your final marked copy all corrections will be made and a special file will be created for the purposes of cueing and extracting parts. Once the parts are extracted, laid out and edited, they will be proofread and any final corrections to the full score and parts will follow.
  • At this point pdf files will be created and we will send you a full set of professionally produced materials ready to ship to the printer of your choice.
  • We maintain back up copies of all files in several places both to guard against loss and to use for future revisions.


  • The estimate is based on the length and orchestration of the work as well as its complexity.
  • As noted above, the estimate you receive is for the entire job. This includes engraving, proofreading and correcting of the full score and parts unless otherwise specified.
  • All estimates presume that you have allowed proper lead time for delivery. Although this varies, a good rule of thumb is to allow two months for preparation of materials.
  • Rush orders, if accepted, will be subject to a surcharge.
  • Our preferred engraving program is the SCORE™ Music Typography System. Although we can and do use other, mass market programs such as Finale® and Sibelius®, we find that SCORE™ gives us the greatest range of capabilities and flexibility as well as the most professional results by far. Since the various programs we work in necessitate differing methods for accounting units of work, we have developed rates based on: item (the unit of measurment we use for SCORE™), active frame (Finale®) or staff (Sibelius®) for full scores.
  • Generally, chamber works and parts will be priced by the page.
  • Revisions and "clean up" jobs will be billed at an hourly rate.


  • It is possible for you to send us files you have created using one of the mass market programs such as Finale® or Sibelius® (or even SCORE™); however, it is almost never less expensive for you to do so. Unless used by experts, these types of programs usually do not result in a truly professional product, and "fixing" existing files is just as expensive as creating them from scratch, if not more so. For that reason, we normally just print out files sent to us and treat them as manuscript.
  • However, if we do need to utilize your files, the only information we will use are the notes (pitches and rhythms). All other score information will be keyed in by us using our own templates. This allows us to control the process without having to spend our time – and your money – correcting pre-existing input errors. What we suggest, if you are writing at the computer, is that you key in only your pitches and rhythms, then print out your score and finish the manuscript, adding articulations, dynamics, tempi, etc. by hand. In our experience, most composers find this a very much faster and easier way to work.
  • Generally, if you have a score created in MIDI only we suggest you go elsewhere. While we can do this type of work we find it excessively time-consuming and expensive.