Arranging:
 |
 |
 |
Arranging can refer to two distinct songwriting functions: How the song is orchestrated and how the different parts Verse, Chorus, Solo etc are arranged in order. As in most creative ventures there is only one rule and that states that there are no rules! But there are conventions, suggestions, tips and tricks.
Here we shall provide some personal insights to support the novice composer with their quest. This site is dedicated to assisting in the production of contemporary popular music so we shall not talk about advanced complex arrangements or symphonic adventures.
The most important point is don't over do it. A good song is almost always a good song when played just on acoustic guitar or piano probably with solo vocals. If you fancy your hit being sung around the campfire don't make it reliant on an over complicated arrangement.
How many songs? A good song has three or four distinct musical ideas, and we would lean to the lesser. Any more than that and you may have enough ideas for two songs. KISS-Keep It Simple...
Arrangement:
Before discussing how to arrange different parts of the song the first challange for the budding songwriter is identifying and naming these sections. Often when we are presented with a tentative arrangement it is described like so: this 'bit' follows this other 'bit' and then we do this 'bit'... Let's look at some common terms:
- INTRO: This 'bit' is simple it's a short piece that starts off the song. You may have a great idea for a complex intro but if the theme never re-occurs it probably doesn't belong there. Best to use some other re-occuring piece or chordal structure perhaps borrowed from the Verse, Chorus or Middle8, but with slightly different orchestration. As is the case with most budding songwriters they have some ideas that they play on piano or guitar. It's nice to hear that straight from the start.
- VERSE 1: It's good to go up or down in dynamics from the intro into the first verse. Probably what you should call the first verse is where you start singing.
- VERSE 2: This will be if the verse repeats with litte or no change to the chords or melody, but a good idea is to bring something in at this point perhaps bass guitar, some rhythm or an extra instrument. The point being if the whole band starts at the top then the arrangement is less interesting.
- BRIDGE or PRE-CHORUS: Now it's starting to get tricky. Often when not all of the Chorus is repeated later in the song it is good to think of the first part of the Chorus as a Bridge or Pre-chorus. This also help with dynamics as you want to bulid up to the Chorus.
- CHORUS: This is the catch or hook, the part that will be the loudest and most likely repeated at the end of the tune.
- MIDDLE8: Originally referring to 8 bars in the middle just after the second Chorus, these can be of any length and are usually the third medodic/chordal idea after the Verse and Chorus (or the fourth if a Bridge is used). These often contain lyrics so can sometimes be thought of as an extra Verse with melodic variation.
- SOLO: If included this can be voiced over any of the preceeding parts or incorporated into the Middle8.
- BREAK: Voiced over the Verse, Bridge or Chorus but with less dynamics and something different to introduce the last Chorus(s).
Let us now look at some arrangement variations starting with the classic simple pop/rock/country song. The Intro has been left out as it borrows from one of the other parts:
- Verse>Chorus>Verse>Chorus>Middle8>Chorus>Chorus
- Verse>Verse>Chorus>Verse>Chorus>Middle8>Chorus>Chorus
- Verse>Chorus>Verse>Chorus>Solo>Verse>Chorus
- Verse>Bridge>Chorus>Verse>Bridge>Chorus>Middle8>Chorus>Chorus
- Chorus>Verse>Verse>Chorus>Verse>Solo>Chorus>Middle8>Chorus
- Verse>Verse>Chorus>Verse>Chorus>Middle8>Break>Chorus
Here is a typical pop arrangement: Orchestration should be used to make the song interesting and to control the dynamics as the song progresses.
Orchestration:
No this doesn't mean for an orchestra. What we are referring to is how to use different instruments to support your tune.
Form verus Content: You can have either but it is really hard to have both. If the lyrics are important or 'deep and meaningful' then having loads of different musical ideas coming in and out is just a distraction. If the lyric and melody are simple the song is probably a pick me up, good time tune then extra melodic parts like a riff or hook work well together with the vocal melody.
Whilst restricting the song to a limited number of musical moments, the use of dynamics and orchestration can make it sound much more interesting. There is nothing wrong in fact there are many rights about starting or pulling the song back to one accompliment instrument such as guitar or piano. We have all heard that thumping rock song that pulls back to a hauntingly sweet acoustic guitar Break just before the final Chorus kicks in. Dynamics make for a good arrangement.
More adventurous arrangement variations are the use of: Key change, Tempo change or Metre change. The best way for the novice to understand this is to experiment with their own productions or listen to their favourite tunes and take note of the changes.
TIP: It is very common for new instruments to be introduced on the first beat of the bar such as 'bring in the organ at the start of the Chorus'. This can start to sound a little predictable, try changing the orchestration a bar or so before or after the obvious change in the song. This enhances the dynamics and renders the song more interesting to the listener.
HELP: Get other people involved with your songwriting process. Invite other musicians to suggest an idea or play a part (litteraly) in production.
COLABORATION: Find some other songwriters and bounce ideas off each other. There are many songwriting 'nights' at venues where you can meet fellow songwriters.
PROFESSIONAL: Many small studios such as the sponsor of this site offer reasonably priced assistance with songwriting. Larger studios are in gerenal more concerned with the recording process rather than the writing process. Be aware that even if you pay someone to compose half your song they are still entitled to half (or a percentage) of the potential royalties.
 |
 |
 |