It starts with the song. Maybe you’re sitting there, guitar in hand, piano under your fingers, and you say to the singer, “Y’know, maybe we should try this a little slower, with a funkier sort of 60’s feel. I’ll show you what I mean...”. Guess what ? You’re an arranger.

Any song can be arranged in at least 10 different ways (see box) viable to the current market and prevailing tastes, and of course in millions of possible ways no one would ever want to hear. If harmonies, rhythm feels, riffs and tempos were etched in stone, I would not have been earning a decent living all these years. It may be more natural for musicians from a Jazz background like myself to play around with these elements, but it’s a rewarding and amusing activity for any musician.

Play “Misty” for me

Your first forays into the world of arranging will probably be accompanying a singer, or yourself (if your ego is so inclined). Far from being lost in a horizonless sea of musical possibilities, the singer is actually your anchor and dictates many elements of your arrangement. Obviously you have to find a key they can warble in confidently. If they have a voice like Minnie Mouse you might avoid an Industrial-Thrash accompaniment, unless you’re going for comic effect. If the song is demanding, you might want to include some musical interludes to give them time to catch their breath. Tempos should suit an effective manifestation of the lyric and the technical expertise of the singer. It's no use arranging songs in greasy funky grooves if your singer has no feel for it. Both you and the singer will look bad at the end of the gig. Instead, let them float, and stay with them. Your job is to make the ‘Artiste’ sound good, not give them (or the audience) a music lesson. By the time you’re on stage or in the studio, it’s way too late for either of them to learn anything but the sting of poverty. Last but not least of your considerations should be to hit a couple of your own musical pleasure buttons, using harmonic variations, riffs and ‘licks’ you like. If you’re not enjoying playing the song, it is unlikely the singer will enjoy performing it and audiences are very quick to share your boredom. If you throw a few of your favourite things into every song, eventually your arrangements will begin to develop a sound of their own. To quote that great arranger (and snappy dresser) Quentin Crisp, “To have Style is to be yourself, but on purpose”.

I’m with the Band

So now you’ve got a Group to arrange for. What in tarnation do you tell all these people looking to you for musical and financial salvation ? First, you need a good working knowledge of the instruments you’re arranging for. If you’re not a guitarist or sax player, take some time to learn about these instruments and their ranges and sounds, preferably from a good player, and of course books, if you can read. Your main objectives in dealing with songs should be clarity and effectiveness. Rhythmic patterns, harmonic structures, lead and counter melodies should be presented as clearly as possible to the listener. If the keyboards are playing a rising bass-line make sure the bass player knows about it. Discourage the sax player from playing over the lead singer’s attempt to present the melody in the first verse. Gently make the guitarist aware that playing a Dominant Seventh Flat Nine chord is not exactly the epitome of hipness if the keyboards are playing a Major Seventh. The form of the song, (intro, verse, chorus, interludes etc.) should be clearly delineated by the orchestration and the dynamics you give to those sections. It’s amazing how much a simple cymbal crash announces to the audience : Ladies and Gentlemen, in case you hadn’t noticed, THIS IS THE CHORUS ! If another member of the band comes up with an idea contrary to one of yours, be honest about the possibility that it might be better than what you thought of. If it’s good, you can always take credit for it later on !.

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