Arranging Tips and Secrets

Almost every director of an instrumental group faces the need to do at least some type of arranging from time to time.

Perhaps the need is something simple, such as providing a part for a player whose instrument isn’t included in a piece you purchased.

Perhaps the need is to create a piece of music for a particular function, e.g., an underscore for a musical production, or to arrange an original song written by someone from your organization.  Sometimes the need you fill may be your own, that is, bringing to life an idea for something original, something of our own expression.

Often I’m asked about my approach to arranging. So in this blog post and the next one, I will share some tips and secrets.

THE FIRST STEPS, after choosing a song to arrange, typically involve defining certain parameters, such as:

— the instrumentation of the performing group

— the ability level of the players

— the amount of rehearsal time the musicians will have to prepare the performance

— the function of the music, whether for a church service, a concert, or other event

— in some cases, the acoustical environment where the music will be played

I then spend some time studying the tune the arrangement will be based on, playing it over in my mind.  I generally consider the words of the song, or at least, the general mood suggested by the lyrics, when choosing the musical style of the piece. 

Some composers avoid writing from a piano, but in my case, since I am a pianist, I will often sit down and begin to improvise ideas on the keyboard before putting any notes on the page.  Also, occasionally I will refer to another arranger’s version of the tune to analyze their approach and see what seemed to work well (or not).

This reminds me of a saying that I heard recently at a music conference, that is, "A composer's secret weapon is other people's notes."  Or as someone else has said, “Originality is the art of concealing one’s sources” (I always chuckle when I hear that one).  Austin Kleon expands this concept in his little book, “Steal Like an Artist.”  The idea isn’t to proffer an excuse for plagiarism, but simply an acknowledgment that each of us is a product of our influences, and that true creativity involves combining these influences in a way that becomes our own unique expression.

As an example, I once was asked to write an arrangement for a clarinet/cello duet.  How could I write something that would sound full and complete with only two instruments to carry the lines of music?  I did an online search and discovered that Beethoven had written several pieces for clarinet and bassoon.  I downloaded a copy of the score from IMSLP.org (a great source for classical scores that are in the public domain) and studied the way the master composer approached the challenge of writing for only two instruments.  I then applied some of what I learned to the arrangement I was working on, and was able to complete it in a satisfactory manner. 

A very important part of arranging is seeking to understand each instrument and the sound of the instrument in various ranges.  A middle C sounds a certain way when played on the piano, but it sounds completely different when played by a trumpet, a flute, or a trombone. 

It even sounds different when played by a violin, a viola, or a cello.  This becomes very important when scoring the melody of a tune.  This is at the top of the list of my “secrets,” i.e., that the scoring of the melody is a primary consideration, and to do it in such a way that the melody stands out and is heard clearly requires some careful planning.

Next blog post we will continue the discussion!