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Don't miss out on the fun of arranging

  • Thread starter Thread starter Nekujak
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Nekujak

My muse is demanding better working hours
I wrote this song about 15 years ago, primarily to add to our jam night repertoire with my guitar-playing buddies. It was nothing more than a typical singer-songwriter tune with no particular genre affiliation - just a plain old singing and strumming song. But several years later, when I recorded it, it came to life as a full on country song (video below).

It's a good example of why maintaining a healthy separation between writing and arranging can be creatively freeing, and quite frankly, just plain fun. Both functions are equally important, and you can end up shortchanging your creativity if you don't give each process it's own independent focus and attention.

These days, a lot of folks write songs directly in their DAW, adding instruments and parts as they go, so that when the writing is done, so is the arrangement. That always makes me a little sad because they've potentially missed out on the most creatively satisfying aspects of both the writing and arranging processes.

One of my favorite musical finds on the web are hardcore gangsta rap songs reinterpreted as folk or country ballads. Yes, they're often played for comedy, but they still work as songs and demonstrate what's possible if we think outside the box with our arrangements.

I know it sounds old school, but I'm a big believer in writing songs to completion on guitar or piano first, with all lyrics, chords, melody, and song structure fully worked out. Then armed with the finished song, it's time to start thinking about how it should be arranged, which might involve running it by other people, playing it together with other musicians, and simply spending time pondering possibilities for the best and most interesting ways to express the song.

Of course, there are times when we deliberately set out to write a song in a particular style or genre from the get go. Nothing wrong with that. But that doesn't mean when it comes time to record or perform the song, that we should automatically be locked into that original musical style or vision. One of the most creatively satisfying undertakings is to sit back and imagine a song brought to life in different genres with different instrumentation and delivery. Very often during this process, we unearth some brilliant hidden aspects of a song that we were previously aware of.

It doesn't happen like this with every song, of course, especially when working under time pressure. But I think it's important not to lose sight of the creative opportunities offered by treating writing and arranging as independent activities. After all, there are many notable arrangers throughout history, whose sole job it was to interpret and present songs in the most musical and interesting ways. Our songs deserve no less.

Have fun!

 
Nice song and production!

As you and I have said a lot, we all have different ways of working.

I have to smush it all together, with the arrangement, lyrics and melody developing as the song does. As the arrangement slowly takes shape, it makes me feel differently about what kind of song I'm writing, and I often switch gears. Even the structure keeps changing as I work. I need to be wide open about everything. Make lots of mistakes and try to fix them.

Of course I have a plan when I start. Lyrics on a sheet. Maybe I've got a temp melody for the verses and choruses. But plans can change if I think of something better. And sometimes a new arrangement idea precipitates a change.

To me, the arrangement is as much the song as the lyrics and melody and rhythm and everything else.

It's probably better if I could do it the way you do it, but I just can't. It's the only way I can work.
 
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It's probably better if I could do it the way you do it, but I just can't. It's the only way I can work.
Oh heavens no. There is no "better" - it's all about what works best for each of us. You should definitely adhere to the method that feels comfortable and natural, and helps you achieve the desired results.

In my post, I was merely sharing my love and enthusiasm for the arranging process. I view songwriting as hard work, but arranging is where I feel like I can let loose and have fun, and no longer need to worry about refining or completing the song. But that's just me.

I have to smush it all together, with the arrangement, lyrics and melody developing as the song does. As the arrangement slowly takes shape, it makes me feel differently about what kind of song I'm writing, and I often switch gears. Even the structure keeps changing as I work. I need to be wide open about everything. Make lots of mistakes and try to fix them.
I'm sure a lot of songwriters nowadays work this way, and it makes sense given the modern tools at our disposal.

But in the pre-DAW era, the only option for most songwriters was to work with a piano or guitar, and then develop the arrangement later when they got together with their band or went into the studio. Of course, sometimes bands wrote songs together as a group as they played them, and the arrangements happened by default, but still, refinements and changes were often made during the recording process.

I just wanted to remind folks about the importance, and joy, of arranging.

Approaching an arrangement with a fresh creative perspective, separate from the song itself, can have a huge payoff. There are a many great songs that were respectible in their original form, but became legendary when a different arrangement was applied. Just a few examples that we're all familiar with:

All Along The Watchtower - Dylan's understated version wasn't particularly special, but Jimi Hendrix elevated the song into the stratosphere with a mind-blowing and unforgettable arrangement.​
Both Sides Now - Joni Mitchell's original recording was great for it's day, but decades later, when she re-recorded it with a soul-stirring string arrangement, the full weight and meaning of the lyrics came into sharp focus.​
Nothing Compares 2 U - Prince's original version seems trite compared to Sinead O'Connor's devastatingly beautiful arrangement.​
Sounds Of Silence - The original all-acoustic version by Simon & Garfunkel went unnoticed, but producer Tom Wilson's electrified arrangement made household names out of Paul & Artie.​

There's a lot of potential for creating something extraordinary when approaching the arrangement as its own dedicated thing. And even if someone's preferred way of working is to write and arrange simultaneously, that doesn't prevent them from revisiting and reworking the arrangement with a new creative perspective at some future point.

As always, there are many paths to the top of the mountain! Follow the one that works best for your particular journey...
 
And even if someone's preferred way of working is to write and arrange simultaneously, that doesn't prevent them from revisiting and reworking the arrangement with a new creative perspective at some future point.
This is the way I work.

After awhile, the melody sorts itself out and gets close to locked. At that point, all that is left is refining and even changing the arrangement. There are often surprises in the vocal performance that I want to respond to.

At the moment, I have two songs that I thought were fully produced, but after listening to them a zillion times, I'm going back to add or change tracks.

But this is the luxury of writing music that isn't on a schedule and only has to please me.
 
Approaching an arrangement with a fresh creative perspective, separate from the song itself, can have a huge payoff. There are a many great songs that were respectible in their original form, but became legendary when a different arrangement was applied.
Yes, it reminded me of "Enjoy The Silence" by Depeche Mode. Martin Gore had written and presented the demo as a slow, mournful song, simply accompanying himself on a cheap organ.


When Alan Wilder and Flood suggested they should make it some kind of a funeral disco track, it was so counterintuitive he first refused. They asked to at least try it, and so Gore grumpily recorded his guitar parts to the new quasi-house arrangement, complete with a sequenced modular bassline. The song became their worldwide biggest hit.

What's great is precisely the contrast between the melancholy of the song as written, and the danceable catchy arrangement. This seeimingly weird idea made the final song something truly special.
 
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