What sort of music are you looking for? Here are the different type of products we offer(click to see more):
Introducing our new 8 Core Orchestra Series
Flexible Christmas series designed for small horn section up to full big band. Check out the recording samples below!
Horns & Rhythm – Retro Worship Horns & Rhythm-Retro Hymns & Horns & Rhythm-Worship
These play-a-long CDRoms were created by the first call session musicians in Nashville, TN. The pro plays the exercise, then you play it back to a click. warm-ups, range, scales, articulations etc
We are now able to sell the Jericho Horns Series that Aaron Weitekamp and I (Jeff Anderson) created and sold to Brentwood-Benson. You can now purchase all 3 volumes here and download them immediately! Volume 1 was designed as a ‘praise band’ series for 2 trumpets, 2 saxes, 2 trombones and rhythm section. Volume 2 [...]
If you want to immediately have MP3s of our arrangements, you can order here then download them immediately. The songs are available for $.99 each or $6.99 for a complete set of songs. If you want to have MP3s for all of your players, please just order as many copies as you need for your [...]
The Master’s Brass Ensemble Series A Season for Brass (Christmas brass choir music)
Holy, Holy, Holy
One of our most majestic hymns, this powerful text and melody has been sung and played for ages proclaiming the true holiness and trinity of God.
I wanted to create an arrangement that would attempt to honor both the majesty and the intimacy of God’s holiness. There is a ‘Concert Version’ as well as a ‘Sunday Morning Prelude’ version of this arrangement available. This Concert Version is intended to be more challenging and will require some time to prepare it. But….well…it’s HUGE! The rehearsal/practice time will be well rewarded with the sense of accomplishment by the players and the magnitude of the moment in the worship service when it is played.
This particular arrangement has a sort of ‘cinematic flair’ to it that is sure to be enjoyed by both the players and the congregation as it attempts to honor the holiness of God.
For more information and to purchase/download the arrangement today, click here
To listen to the arrangement, click below:
It has been incredibly busy around AK Studios the last couple of months. Jeff has just completed the score for the feature film, ‘Four Blood Moons’ based on the New York Times best seller by Pastor John Hagee.
Here is Jeff with Kieth Merrill and Rick Eldridge
Jeff composed all of the original underscore for the film that will be a special one night Fathom event across the United States on March 23rd of this year. Directed by Academy Award winner, Kieth Merrill(spelling is correct) and produced by highly acclaimed producer Rick Eldridge (Bobby Jones:Stroke of Genius, The Ultimate Gift and the Ultimate Life), this documentary/drama looks at the intersection of faith, history and science.
This one night only event will show in almost 700 theaters across the United States. To look for the nearest theater to you, click here.
Here is Jeff with Marti D. Humphrey at The Dub Stage in Burbank, CA after finishing up the final dub (mix) of the film.
Utilizing first call Nashville session musicians and principal players from The Nashville Symphony, Jeff was able to create an orchestral score to support the re-enactments in this documentary/drama.
Cimbasso to answer your question. That’s what that bent, odd looking valve trombone type instrument is that Tuba/Cimbasso player extraordinaire is playing. It is the ‘sound’ of most of the modern action films you hear today. There is so much ‘oomph’ in it. Kerri Bailey, principal second violinist for The Nashville Symphony and principal cellist of The Nashville Symphony Anthony LaMarchina, shared their amazing talents on this score. Anthony’s cello is a Matteo Goffriller cello built around 1700. It is stunning and he played it masterfully.
23% OFF any order until the theatrical release of the film
To celebrate the theatrical release of the film and Jeff’s orchestral score, AnderKamp Music is offering 23% off any order placed before the film is released March 23rd in the theaters. So if you are looking for horn section (Horns & Rhythm), Big Band (Jericho Horns and AK Little Big Band), Brass Quintet or Brass Choir (Master’s Brass), Strings, Woodwinds or full orchestra, now is the time to place your order!
Use the code: FourBloodMoons before March 23rd and receive 23% off your order!
And then go see the movie that night if you’d like to hear Jeff’s score.
I began AnderKamp Music back in 1998 to help churches, schools and individuals find creative, great sounding arrangements that some of the other ‘big’ publishers weren’t publishing. I have had the wonderful opportunity to partner with many different wonderfully gifted arrangers over the years as a result. Today, I am thrilled to introduce you to another incredibly talented arranger and composer, Matt Riley.
A little info about Matt:
Matthew Riley is a composer, arranger, orchestrator, and producer. He has composed for radio and tv commercials and scored music for documentary films. He has worked in charting and orchestration for TV shows including NBC’s The Voice. He has arranged, produced and orchestrated hundreds of songs for churches and recording artists. His arrangements have been heard in theaters, churches, schools and performed by orchestras in the Americas, Europe, Africa, Asia and Australia. He lives in Minneapolis, MN with his wife and three kids.
Matt is Instrumental Director at New Hope Church in New Hope, MN so he understands church orchestra.
Matt let me hear an arrangement he did for solo violin/fiddle and full orchestra and I LOVED it! His arrangement of ‘Of The Father’s Love Begotten’ has a Celtic flare to it and it is HIGH ENERGY!
If you have a gifted violin player, they will love this. If you don’t, not a problem. Contact your local symphony and have the principal violinist come be a guest artist for your Christmas program.
For more information and to order the downloadable version and have it immediately for rehearsals, click here
Matt featured the incredibly gifted Deborah Klemme in their Christmas program last year and made a video of the performance. For those of you who know our friends, Keith and Kristyn Getty, Deborah plays violin/filddle and sings background vocals for them on the road (and on their recordings). In short, this video of Deborah and Matt’s orchestra sounds amazing!
There are strings attached to this, but when the arrangement is finished your principal violinist may have a few strings/hairs loose after this!
Pastoral. Wide. Sweeping. Peaceful.
The world is full of chaos. There are dark spots throughout it.
But just as Elijah heard God’s still small voice after all the storms and noise, we can still hear Christ’s voice in the midst and after the storms.
Matthew 11:28 says, “Come to me, all you who are weary and burdened, and I will give you rest.”
When I was creating this arrangement, I was thinking of a wide, sweeping peace that passes all understanding.
To me, John Barry is a film composer who captures the wide, sweeping feel so well. Think of ‘Dances With Wolves’ and ‘Out of Africa’ and you will know what I mean. These are two of his well admired film compositions. ‘What a Friend We Have In Jesus’ seemed to fit so well in this style.
One of my good friends, Jim Gray, asked me to create an arrangement for The Nashville Praise Symphony. The Nashville Praise Symphony (NPS) is an auditioned orchestral group under the excellent direction and baton of well respected arranger and orchestrator Camp Kirkland. This arrangement is what I came up with for last season of NPS. I am thrilled to now offer it for other orchestral groups that wish to perform it.
Special thanks to Jim for 20 years of friendship, asking me to contribute to the NPS repertoire and for ‘pushing back’ and helping me to make this arrangement even better.
To purchase this arrangement for your instrumental group, click here
I hope you enjoy the arrangement. Here is a portion of one of The Nashville Praise Symphony’s live performance last season of my arrangement.
I like trumpet.
I really do.
I love playing trumpet.
I really enjoy hearing the Nashville Symphony (with Jeff Bailey cranking away). I love hearing Steve Patrick sittin’ on top of a big band doing a Maynard tribute (like he did at the Franklin Jazz Festival the year Maynard died). I love Tim Morrison’s solo on John Williams’ Summon The Heroes. I loved hearing Wayne Bergeron playing lead live with the Patrick Williams Big Band when I was in LA in May. I love hearing Rick Baptist play his flugel (so so so warm). I love Doc. Enough said there. But what a ‘za’ sound. I love hearing Arturo solo. I love hearing and watching Faddis play live and laughing at the ridiculousness of his range. I love hearing and seeing James Morrison play and just crank! (and play every instrument in a big band). I love the truly ridiculousness/unfathomableness of Allen Vizzutti. Herp Albert and the Tijuana Brass make me smile. Maynard well..he’s Maynard. I remember the first time I heard Star Wars and Star Trek as an 8th grader and I couldn’t even wrap my head around how high he was playing. Then I went back to his Kenton days and..wow! I love Bobby Shew’s melodic solos and his Vegas showman style wit in concert. I love Dizzy and the life and energy he exuded. I love Louis Armstrong’s wonderful world and EVERY TIME he says hi to that gal Dolly. Wynton-Carnival of Venice. Wynton-jazz. Miles-that was a pretty cool birth. Clifford-I remember him. Bud-Absolute stud. Freddie Hubbard-yes. Chris Botti-making trumpet cool for the masses (and playing while at the same time). Al Hirt-trumpet is fun. Phil Driscoll-as a church trumpeter, he changed everything in the church trumpet world. Mike Haynes on all the horn section records that came out of Nashville in the 80s and 90s. (Carman Live Radically Saved-trumpeters know what I’m talking about on this one). Chuck Mangione-It’s not a make believe world and it feels so good to listen to him. Jerry Hey-Michael Jackson (enough said). Roger Ingram-THAT Harry Connick, Jr. video-yep…trumpeters know what I mean). Bill Chase-you left us too early. Vinny DiMartino (how do you crossover that easy between classical and jazz?). Cat Anderson-a different planet of playing, especially considering those recordings were one take that long ago. Derek Watkins-Bond (enough said). Malcom McNab and the movies. George Tidwell’s jazz solos are GREAT and he’s always been super, super nice to me.
and there are a ton more. TON.
That’s the great thing about this instrument. There are so many ways you can play the trumpet. Jazz, Classical, Horn Section, Rock (Flea), Rap, Ska, R&B, Funk, Hip Hop, Country (yes), Mariachi, Symphony, Wind Ensemble, Brass Choirs, Brass Quintet, Trios, Duets and then just ridiculously high over top of some pretty classical piece (thank you Tastee Brothers for the fun ‘tastee’ stuff).
I’m now officially <cough> at 30 years of playing trumpet. I started playing in the Fall of 7th grade with Mr. Mattson at Ferry Pass Middle School in Pensacola and it’s now been 30 years that I’ve been playing trumpet. I’m currently 42 so it’s between 71 and 72% of my life that I’ve played trumpet.
I really do love it. When you love something, you want it to keep going. In my effort to support the trumpet world (and pay for food for my kiddos), I have created with my company:
7 volumes of brass quintets
2 volumes of brass choirs
1 volume of Christmas Big Band charts
1 volume of Christmas horn section charts
3 volumes of horn section charts
Trumpet (flugel) solo of Silent Night with full orchestra (lush strings and jazz rhythm section)
Trumpet Trio of Deck the Hall (not to Bugler’s Holiday)
Full orchestra arrangements with FUN trumpet parts (10,000 Reasons for Worship Orchestra Series)
1 volume of quick to pull together, yet still fun to play church orchestra arrangements (8 Core Orchestra Series)
A play-a-long series of trumpet routines in our Instrumental Resources division, we have 5 volumes of trumpet practice routines (warm ups, extended warm ups, scales, tonguing/articulations, and range)
There’s not much point to this post outside of some nostalgia, sentimentality (30 years is a LONG TIME) and a post that mentions trumpet a LOT which continues to help Google realize that Trumpets are back!!!! (they didn’t go anywhere but Google just needs to know that Trumpets are back!!!!)
Who’s your favorite trumpet player (or top 3)?
Oh…and I like turtles too.
It’s beginning to look a lot like Christmas. Well, it is at least with churches starting to think about what they are going to do for Christmas.
As you are looking towards the Christmas season at your church, I would like to tell you about a number of options we have for instrumental music. And many of these options can be performed/played in the mall, in schools and other public venues as a great outreach as well as during the services all through the month of December.
(Click on the project titles for more information)
12 Christmas arrangements for brass choir and percussion. These are perfect for playing the lobby all throughout December.
The Master’s Brass Quintet Series – Volume 3 – Christmas
10 brass quintet arrangements of popular Christmas songs.
AK Little Big Band
10 Christmas arrangements for Big Band but they work with a horn section size group. These feature soloist (vocal or instrumental) plus the big band. These are FUN!
Horns & Rhythm – Christmas
It’s not Chicago, but it could be a suburb. Let us give you one Sunday off from planning at Christmastime. 4 congregational arrangments and one smokin’ instrumental feature designed in our Horns & Rhythm style!
Deck the Hall – Trumpet Trio
It’s a holiday for buglers that like decking. Arranged in the style of the classic Leroy Anderson favorite, Bugler’s Holiday, this arrangement of Deck the Hall for trumpet trio plus orchestra will be a HUGE HIT!
Silent Night for solo flugelhorn and full orchestra
From our Solo – Plus Series, this beautiful solo flugelhorn feature with orchestra will really give an opportunity for the flugelhorn to be featured with beautiful strings around them.
Click on any of the project titles above for more information about what we have to offer for instrumental Christmas music!
Sometimes you get absolutely no warning. It just happens. Other times, you’ve heard rumblings and even felt the buzz, so you’ve got an idea that there may be something special going on.
Art is subjective. No question. But even in the midst of a subjective form of creativity, there are still some moments when most people would say, “Wow!”.
Ennio Morricone’s score to ‘The Mission’
The opening of ‘Saving Private Ryan’ on Omaha Beach.
The first scene when Carrie Ann Moss jumps up in slow motion and the camera(s) spin around in ‘The Matrix’
For me, I watched ‘Wicked’ on Broadway with not a lot of prepping. I knew it was supposedly amazing, but I didn’t have a clue. I’m watching it. It is truly phenomenal. BUT THEN they start singing, ‘For Good’. Still, to this day, I get goosebumps (chicken skin as my sister calls it). I KNEW I was hearing one of ‘those songs’.
In the world of church music, the first time you hear Keith and Stuart’s ‘In Christ Alone’ may be one of those moments.
My wife and I were on staff (for 10+ years) at The People’s Church in Franklin, TN. A few years back, the church had decided to do a live worship CD. Michael Neale was the worship leader. My wife, Dana, is a session singer and she was asked to sing on stage for the live worship recording. I stayed home with the kiddos (school nite/bedtime). She came home and said, “It was good. There are some good songs. But there is one GREAT song. You’ll really like it.”
Thus was my introduction to Krissy Nordhoff and Michael Neale’s, ‘Your Great Name.’
My wife, was (or course), right. It really is such a great worship song. Great lyrics. Strong melody. And a well crafted build with some nice moments in it.
When looking at worship songs to include in our new ‘Horns & Rhythm’ Retro Worship collection, I just knew we HAD to include it.
I based my arrangement off of The People’s Church recording version from the ‘Shine Out’ CD. This arrangement is an instrumental feature. On the recording, it is a guitar solo taking the lead. This arrangement is in Bb and works great as a congregational arrangement as well so you could open the service one week with the instrumental version and you could use the congregational arrangement that day or another day.
For more information about the arrangement and the entire series, click here.
So how about you? When have you had moments where you heard a song or watched a movie or watched a musical and you ‘just knew it’?
(Here’s a little bit of the back story of Michael and Krissy writing ‘Your Great Name’
Your Great Name (works as congregational accompaniment as well)
When school starts back up for the Fall in just a few weeks, I will have been playing trumpet for 30 years of my 42 years on this planet. According to one of the algebraic equations I remember from my youth, that means I have been playing trumpet for about 71% of my life.
I have had some amazing opportunities in my life of trumpet playing so far. I’ve had the opportunity to tour professionally with the group TRUTH back in the 90s sitting next to one of my dear friends and first call trumpet player here in Nashville, Steve Patrick. I played trumpet on a CD with Jody Benson (Ariel-The Little Mermaid). I’ve played (and gotten paid) to play in a symphony, in a number of musicals, wedding receptions, numerous times in recording sessions, a touring big band out of Nashville and tons of college big bands, marching bands, wind ensembles and brass ensembles.
There have been a LOT of great memories playing trumpet.And…well…there have been a number of not so great memories playing trumpet.
1. When I play solos in church, I typically go for more mellow, flugelhorn type solos. I tend to stay away from flashy, fanfare type things generally speaking. I decided once to play Bugler’s Holiday in church as a solo (this is a trumpet trio AND should STAY a trumpet trio by the way). I thought I’d ‘show off’ a little, play some fast double tonguing and wow the folks. Not really the best attitude and well….I start it off too slow, so the double tonguing is just too slow to double tongue and slightly too fast to single tongue so it was in a weird middle spot. I get to the end of the song. There’s a little fanfare triplet thing that ends on a High C. Not a big deal, but I took it too slow, there weren’t any rests and well…I go for the high C 3 times (and miss every time-playing a Bb) and finally just end on a Low C and then try to casually walk/run off the stage in utter embarrassment.
2. I was playing in my college jazz band and had a trumpet solo feature on ‘I’ll Be Home for Christmas’. The jazz band was being featured live on the radio. We ran through the song in what I was thinking was sound check, but I was completely sure and because of that, I went ahead and played full on. The end of the song didn’t really have ANY breaks for the soloist so when I finished, I was pretty tired. Then, about 5 minutes later, we actually did it live. I was shot. Nada. Bupkus. So far, this recording hasn’t surfaced on YouTube and I’m grateful. I played ‘most’ of the notes but my tone was bad, I was out of tune and I just couldn’t make it through to the end. And on top of that there were spots where I hit a note, then the band, then I hit a note, then the band. Well…yeah. it was horrible. To this day, when I see/talk to the band director, that one moment comes to my mind.
Both of those moments are completely my fault. Full responsibility here. No question. I was going through some weird embouchure issues (and I later learn that my set-up was not great), but but but there is a similarity in both of the above ‘awesome’ (cough, cough) moments in my career.
Plain and simple.
Making it to the end of the song and finishing strong.
With my composing, arranging and orchestrating, I have the opportunity to write for all different sorts of groups. In the past 2 months, I have written for full orchestra, pro horn section, full big band, marching band and a wind ensemble/chorale group. When I am writing for ‘weekend warriors’ (folks that play on Sundays and rehearse on Wednesdays and that’s it), I really try to be mindful of how long I’m keeping the horns on their faces to try and help as much as possible for them to have a positive experience. Basically, I’d like them not to have a blog post like #1 and #2 above at some point in their life.
And there is one thing that I try to do when writing for brass players (trumpeters especially) that I think MANY arrangers do a pretty terrible job at when writing for ‘weekend warrior/volunteer’ type groups. And in all honesty, it’s a pretty simple fix.
GET THE HORN OFF THE FACE NEAR THE END OF THE SONG IF THEY ARE ENDING ON SOMETHING HIGH!!!!!
Sometimes, the idea of endurance isn’t just the one song they are playing, it’s the fact that they’ve played 4 songs before this AND it’s the 3rd service that morning AND they did a complete sound check before the first service. I know there are plenty of discussion points in regards to building chops, having additional players, and being able to handle the part you’ve been given. BUT one of the things I try to do when writing smaller ensemble pieces is be aware of the possible situations the players may be in and try to help them out. Whenever possible, I just try to give the lead trumpet a moment near the end to get the horn off the face. This is not one of those things where they need to rest for 12 bars before the last note. Not at all. You still have to be able to play. BUT, I like to give them options when possible. Here is a sample from our Master’s Brass Quintet Series that shows a couple of of ways that I like to try and ‘help out’ the lead trumpet.
(Disclaimer:I am NOT talking about studio musicians who play 6-9 hours a day or for monster players. I am talking about someone who’s picked up their horn after 20 years, is slowly getting his chops back and LOVES to play trumpet at church. I’m talking about folks who can get tired playing through 3 services on a Sunday morning)
1. Top of the page (m. 46-51). This is not necessarily high for lead trumpeters. For some ‘weekend warriors’ however, it could be a little. And if they’ve been playing a bunch that morning, this could just take a little bit of effort. The 4 bars before that (m. 42) the 2nd trumpet is building up. So instead of both trumpets building, I have the 2nd trumpet build for 4 bars and then the 1st trumpet comes in.
2. Section C has a number of 2 measure rests throughout it. Couple reasons here. If this is the 5th song that Sunday and it’s the offertory special (this is a brass quintet arrangement), it is ‘possible’ that the lead trumpet could be a little tired. (or a lot!). So I’ve built in 2 bars, 2 bars, 1 bar, 2 bars and 3 bars rest before we get to the end of the song. This allows him time to get the horn off his face before the end of the song.
3. ‘all in unis.’ This has become one of my trademarked (not ® obviously) things I like to do when possible. The power of the trumpets in unison is GREAT! There’s one other benefit that happens. It’s a ‘just in case’ moment for the lead trumpet. We do this all the time at churches where I’m playing. If the lead guy is finding out that he’s getting a little tired, I like to give him a measure or so near the end where if he needs to, he could take the horn off the face. This is EXACTLY why m. 68-70 are written this way. If this is one of those days, like me in ‘I’ll Be Home for Christmas’ and my chops are funky, the lead trumpet can sit out for those 2 1/2 measures and let the other trumpets play those measures and simply come in when it goes to divisi. Yes, I know it’s more powerful with more trumpets, but if the lead guy needs the break, he can take it. If he doesn’t, GREAT!
4. A quarter rest. This doesn’t seem like a big deal to non brass players. BUT BUT BUT to brass players, this is a big deal. In measures 71 and 73, I put a quarter rest on beat 1. It’s a musical choice, sure. BUT it’s also a endurance/awareness choice. There are many arrangers who write for church orchestras who have no clue how much of a difference that one beat makes. They just don’t get it. I wish they did. It would help so much in volunteer groups. I was taught by some great trumpet teachers and they told me if I have a beat, get the horn off the face for the beat. I do that. It really does help. It just gets the blood flowing again and helps with endurance.
These are just a few of the things that I try to do when writing for brass players to help them have positive and #winning (thank you Mr. Sheen) moments in church. I am NOT talking about when I’m writing for professional studio musicians for a big band, film score or symphony. But, I do at least think about the brass when I’m writing for those groups. I won’t give this many opportunities for the brass (this is an extreme example with a lot of ‘outs’) in the studio, but I will be thinking about how tired they may be near the end of the cue or the track. That keeps their chops more fresh and we get to do fewer takes and that saves money.
I wish that those folks who write for church orchestras with volunteer players would realize how much of a difference simply giving the brass guys a chance to get the horn off the face would make in the playing of their arrangements.
If one less trumpeter in the world doesn’t have a huge list of ‘humbling’ experiences in church, then this is worth it.
This arrangement sample taken from The Master’s Brass Quintet Series, Volume 7
Some folks like to read information about a project. For others, a visual is easier to help you wrap your head around a project. I’m more of a visual guy, so here is a quick video overview of our Retro Worship collection from our Horns & Rhythm series. Similar in idea to our Retro Hymns project, we have taken modern worship songs and gone ‘back in time’ a little bit. This time, towards the 1980s. This means you’ll hear some synths, some old school rock guitars and, of course, a horn section.
If you are a rhythm section driven church and are looking for something different for a Sunday, this project would be GREAT for you. If you don’t feature horns every week, this collection works great! Use these arrangements as openers and during the offertory (and at the end of the service) to add energy, excitement and ‘something different’ to your worship service.
But along with the ‘something different’ mindset, the real benefit of this series is one thing:
Simply put, you allow more folks to use their gifts in worship in a creative way that will ABSOLUTELY WORK in today’s contemporary style! Horns were very prominent in the 1980s, and the Christian industry followed suit in the late 80s into the 90s. This is the time. Horns are back! Horns are cool! Horns WORK IN TODAY’S CONTEMPORARY STYLE.
Enough talk. Here’s the video overview of the series:
For more information, to hear more audio samples and to purchase the complete set of the Retro Worship arrangements, click here
What if today’s worship songs were recorded in the 1980s?
What musical influences would you hear?
Would there be hints of Boston, Journey, Genesis and even Bon Jovi?
And…Just how much reverb and delay would there be on the saxophone?
In true Horns & Rhythm fashion, we have taken 10 popular and familiar worship songs of today and tried to imagine what they might have sounded like in the 1980s. But we’re not using a can of hair spray per person and we certainly are not trying on M.C. Hammer’s parachute pants. Well…at least not in public.
As light hearted as I’m being in describing the series, the reason for this series is very intentional. The purpose lines up with our mission statement here at AnderKamp Music.
AnderKamp Music provides world-class, yet accessible music for churches, giving instrumentalists the opportunity to use their gifts to glorify God.
As the ‘sound’ of the modern church has transitioned to a rhythm section, many traditional orchestra members have not found a place where they can use their gifts to glorify God. Your church may still be utilizing a full orchestra (Praise God!) but many churches are not using any instrumentalists outside of a rhythm section.
The Horns and Rhythm series was created to let the modern rhythm section driven church hear arrangements that creatively use horn sections in a way to add to their worship experience and incorporate more players.
Along with the inclusion factor, many churches that are rhythm section only are looking for ways to change things up and not have the ‘same old, same old’ sound every week. Well Retro Worship from our Horns & Rhythm series absolutely allows you to change things up, open the worship service in a fresh and exciting way AND include more instrumentalists in worship.
BUT this series is not just for a horn section plus rhythm. Not at all. We are providing additional parts (not on the recording) for woodwinds, strings and additional brass to allow a full orchestra to play this series if you are looking for a creative way to include full orchestra in modern worship.
Instrumentation: 2 trumpets, 2 saxes, 2 trombones and rhythm section
Written out piano/synth and bass parts
Additional parts for woodwinds, strings and addtional brass
This fun, challenging series will be a HUGE HIT to everyone and will add a ton of energy to a service!
AnderKamp Music provides world-class, yet accessible music for churches, giving instrumentalists the opportunity to use their gifts to glorify God.
Currently living in the Nashville, TN area, Jeff Anderson (owner) is a freelance arranger/composer/songwriter with published arrangements with Word Music, Provident Music Group, Lifeway, Hal Leonard, Prism Music and Genevox Music.
His horn arrangements and trumpet playing can be heard on albums from the Newsboys to Jody Benson (Disney’s Little Mermaid).
In partnering with Max Lucado, Jeff created a series of 9 Scripture Memory Songs CDS in conjunction with each of the Hermie and Friends DVDs.
He wrote and produced God’s Little Princess Lullabies with artist/speaker Sheila Walsh for her Gigi God’s Little Princess series.
He also created 150 of the arrangements and orchestrations for the Lifeway Worship Project.
Jeff recently arranged ‘Christmas in Black and White’ with Jeff Slaughter for Brentwood-Benson.
As a composer, Jeff has worked on more than 45 videos, movies and short films.
Jeff co-wrote 2 of the songs in the immensely popular Amish Musical ‘The Confession: A New Musical’ currently playing in Indiana, Pennsylvania and Ohio.
He has arranged/orchestrated over 550 songs for recordings, print and live performances.
As a trumpet player, he’s played on recordings for the African Children’s Choir with Jody Benson (the voice of The Little Mermaid), Keith and Kristyn Getty and Anthony Evans.
Jeff’s studio, AK Studios, is located in Spring Hill, TN in The Hardin House (built in the 1870s) that Jeff renovated himself in the the summer of 2012.
Jeff and his wife, Dana, live in Spring Hill, TN (suburb of Nashville) with their 2 daughters (Karis and Dakota) and son (Dawson).
AnderKamp Music was created with the local church in mind. We are not creating inaccessible “studio charts,” but rather arrangements for the “weekend warriors” in the local church. Over 2000 churches have ordered music through AnderKamp Music.
Try us out. You can order the arrangements, hear audio samples online or purchase one of our professionally recorded demos and see what works best for your group. We offer a money-back guarantee. If the arrangements do not work for your particular group, call us and simply return them.
If you have any problems or questions, feel free to send us an email: sales (at) anderkampmusic.com
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