SmarterMusic is dedicated to the exploration of music in all its forms and the promotion of musical understanding for all. Active contributors include:
Yuri Broze
Pianist, instrumentalist, vocalist, arranger, and molecular biologist based in New York City. Former Music Director of the Achordants. For arranging services, see Broze Brothers Music; for performing and lessons, see Yuri Broze.com.
Jeff Fowler
Accomplished guitarist, vocalist, songwriter, and photographer.
Dan Newman
Composer, arranger, double bassist, writer, and didgeridoo builder. Music Director of Brandeis University's Rather Be Giraffes. For arrangement and other sundry music services, check out MusicaRanger.
Posted by Dan Newman on March 10, 2010 at 10:13 am
~I wholeheartedly support all kinds of research that you can do before putting notes to a page. Steal ideas! Save yourself time! Don’t reinvent the wheel with every new arrangement, especially if you’re cutting your teeth for the first time.
~Ostinatos, or repeated bits of music, make teaching and retaining a lot easier…so you should do it! Do a single measure motif, then repeat it for a section. Every part can have a different ostinato (which makes it sound flashy), but it drastically cuts down on the amount of material you need to devise.
~What may seem less important than notes- the dynamics, shaping, and syllables- are just as important as the notes. Don’t forget them.
~Be enthusiastic about yoru arrangement, even if it’s your first. Attitude changes a lot, even if it’s a crummy arrangement. If you come in tentative, your singers will be tentative, and your performance will be tentative. Tentative performances suck.
~Try to avoid putting the highest notes of the arrangement near the beginning or middle. Let them be a literal high-point near the end of the arrangement.
~Arrangements take time. It’s ok if you’re spending hours and hours on it. That’s normal! Just keep working until you believe that it is ready- don’t try to finish it in an hour.
As far as first-time arranging tips, I’d advise against taking the basses too low. Even if they have a solid low E, the chords will ring better with the basses up the octave, and they’ll sing better, too! The same goes for the low F and frequently the low G as well.
If you’re stuck for ideas (esp. in the verse), you could always add some sort of lyrical echo. There are these long pauses between each short phrase the solo has, so I would probably experiment with little counter-melodies repeating the lyrics the soloist just sang. (I would probably wait to use this kind of effect until the 2nd or 3rd verse)
I also second Yuri’s suggestion of singing first. If you write it first and then try to add vocal syllables, it will tend to sound sort of unnatural — Instead, try to sing something that feels/sounds natural to you, then write it down.
Don’t be afraid to shorten the introduction.
Consider cutting the instrumental interlude(s). Guitar solos almost always come off as corny, which could ruin the mood of the song. If you have someone who can do a mellow, authentic scat, that could work well.
Other than that, I’d suggest searching YouTube for any and all versions of the song that could give you ideas. Live performances, acoustic versions, or a cappella arrangements.
Your first arrangement won't be ambitious as this one.
A reader wrote in requesting some pointers on arranging for his high school a cappella group, and I thought I’d post a few here: advice for writing your FIRST arrangement. These tips do not necessarily apply to ALL arrangements and are not general rules, but are good ways to make sure nothing goes too haywire from the start. Enjoy!
The best advice for somebody who hasn’t tried it before would be 1) to map out the structure of the piece, 2) to figure out the chords and make the arrangement conform, and 3) don’t write women’s parts — even the sopranos — higher than an an A or B. Things can get very messy very fast. Exceptions exist, of course.
Make sure vowels match between parts. Have at most two different vowels happening at once, but really writing a homophonic texture is good.
The way I arrange is by singing first. So, sing along to the original song, improvising a line that you think might belong in the arrangement. Then, I go back and expand it through harmonization, and/or fill in the chord with other parts.
More specific to the song you’re working on, try to find a midi of it with a decent piano transcription, or find piano sheet music. This can help take a LOT of work out of the project.
Your first arrangement will probably have lots of repeats in it, and that’s okay. You can repeat a section COMPLETELY and just instruct the choir to sing different vowels, and it’s a good quick way to make the piece sound like it’s growing. Sustained oos can turn into sustained ohs or ahs.
The most important part about writing a good arrangement is making it FUN for everybody to sing, since that makes all the difference in how well they do it. So, make sure you sing every single part of your written arrangement on your own, and see if you enjoy it. If you don’t, fix it.
One of the biggest issues of this ossified study of hundred-some year old music is that our university students are being taught that Beethoven, for instance, is forever… or at least his music is. We play them wonderful excerpts recorded on Steinway 9-footers of his Sonatae, and it never occurs to the young initiates that this music invites a more curatorial perspective. Jan Swafford at Slate has a wonderful article with sound examples of the difference a period instrument can make. After all, Beethoven had only 5 and a half octaves, and timbres that varied widely! No wonder he treated each hand as a different instrument — the timbral differences in the high and low ranges made them sound quite constrasting indeed.
Posted by Dan Newman on February 19, 2010 at 12:01 am
It’s just been stuck in my head lately. Nota, the winners of NBC’s The Sing Off, did an amazing fusion that’s been lodged in my brain of Jay Sean’s “Down”. Watch this:
What I think is fascinating is how the lyrical vocal line is accentuated by the latin rhythms and the light backups. Oh yeah, the faux-trumpet break is pretty sweet and serves as the homerun gimmick, but the reason why Nota won was not because of nailing gimmick after gimmick (which they did, btw), but the musical choices that set up those homeruns. Each one of their performances features some ethnic flavor that makes each one stand out, but the underlying musicality is why they walked off as champs.
To use a cake metaphor…they had really good cake. Yeah, the frosting and decorations made Nota distinctive and gave them that necessary push to top the Bubs and Voices of Lee, but they developed something good and did it right, then added the buttercream to eke out the top slot.
Listen closely to the arrangement and see how the ensemble works: you can easily hear the soloist, the backup hits are light, there is smart use of silence and noise, and the percussion sets up a groove and establishes a mood without overshadowing the solo. The interplay between the singers links the musical phrases (watch how one hits the splash cymbals on the VP) and the choreography has direction: “We are here. We are now moving here. We are spreading out…to do something wicked cool. We come back together.” The choreography underlines the music, rather than the other way around.
A take-away from their arrangement is the use of sustained bass notes. When the bass activates and starts jumping around, there’s a rise in the energy level, but when it’s sustained it sets up a smooth groove. Also, the root of the chord provides a strong tension with the vocal line, which sits on the dissonant 4th and 2nd scale degree a lot. Milking that tension makes it delicious when it resolves…down (b’dum, crash).
And yeah, the trumpet break is pretty ballers too.
Posted by Dan Newman on February 15, 2010 at 10:08 pm
RIP Porkins.
Not only does pitch exist, it’s part of the trifecta of all music (the other brothers Timbre and Rhythm will have their day).
Sound is a giant pitch. Not just one, but lots of pitches. Big pitches, small pitches, pitches you can pick out in a crowd, and pitches that don’t sound like a pitch but actually are pitchy, if you look closely enough.
Double entendre’s aside, every sound you hear is a note: music just organizes all those sounds into something kind of pretty, sometimes. Identifying these discrete things we call pitch and manipulating them allows us to make what most people call music.
Posted by Yuri Broze on November 2, 2009 at 1:56 pm
An update on the state of things –
Graduate school calls, and I’ve begun work on a PhD in Music Theory and Cognition at the Ohio State University, working under David Huron. Things are chugging along quite nicely, and I’m slowly getting into the groove of things, so to speak. Surprisingly, though, there’s not much of an a cappella scene here; there are murmurs that something might soon begin though. In the middle-term, it’s life as usual, piano lessons, and more arrangements for hire. In the meantime, take a good look at Diana Deutsch’s speech-to-song page to get a feel for the type of work that will be happening here. As I get deeper into the work, expect some more incremental updates to the A Cappella guide, and other cognition-related posts.
Posted by Jeff Fowler on September 8, 2009 at 11:40 am
Really cool news here- SmarterMusic was recently named on a list of the 100 Best Blogs and Websites for Innovative Academics by accreditedonlineuniversities.com. Cool! I’m sure there are some good ones in that list as well, and we’re happy to be included.
Stayed tuned in the coming months for a lot of activity on this site. We’re gearing up for a new school year and there will be plenty of thunking happening. In the meantime, enjoy this incredible stop motion video someone forwarded me. Notice especially the absolutely stellar image quality that is a result of using a still camera and not a video camera to take the photos, then editing it into a movie. I can’t imagine all the work involved!
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An update on the state of things –
