Composing music is to do with the fundamental elements of a song or instrumental work, such as the melodies, harmonies (chords used), rhythms etc. Arranging is the process of taking these ideas and developing them with instrumentation (e.g. guitars, piano, orchestration etc) and additional harmonies, melodies and percussive lines as appropriate. Sometimes the edges can become blurred between musical arrangement and composition.
1. Compare and contrast
This is a technique that I use very often when arranging tracks. When I hear the song or work for the first time I ask myself – are there any other pieces that move in a similar way? For example, let’s say someone has asked me to arrange a soundscore for dramatic chase sequence. I would begin by listening to a something that is already in this style, say for example, the James Bond theme:-
Here's how I would analyse the instrumentation - what sounds are being deployed to evoke drama and action? Here the brass play a pivotal role, as do the strings, constantly repeating the restless harmonic movement - the upper part moving by semi-tone step - (basically an E minor chord with the top note moving from B to C to C#). Notice also the way the percussion punctuates the entry of the melodic themes, heightening the drama and tension.
I would then seek to apply some of these principles to the commission that I was working on. However, remember that there is never such a thing as a “perfect match” for an arrangement, and so it is always important to then apply these findings so that they “fit” with the tempo and style of your song arrangement or musical work.
2. Layering the real with the synths
This is a little trick I use when working on recording arrangements with tight budgets. Let’s say that a string orchestra is called for as part of the composition.
To begin with, I record the strings in the computer using a VSTi plugin such as Halion Orchestra or Garritan Strings (using GVI). I then “layer” a real violin on top of this, usually about four times. I ask the musican to perform it slightly differently on one or two of the takes (e.g. by using a different bowing pattern etc), so that the recording does not become too uniform. This real element (along with a cello for the lower lines) is then mixed in with the synthesized parts, and fools the ear into believing that it is hearing a full string orchestra. The technique can be applied to other elements of orchestral recording such as woodwinds and brass.
3. Orchestration tips
Here's a few of my top tips on music orchestrating:-
• doubling a flute melody with a piccolo an octave higher causes this line to "carry" more in the arrangement. This is especially useful if there is a lot happening in other sections of the orchestra, or at "tutti" moments.
• doubling a cello line with a double bass an octave lower will cause the bass to have much more impact on the overall sound. This effect can be further augmented by the Contrabassoon - and instrument especially useful for thickening the bass texture and providing extra weight.
• When orchestrating for strings I try to avoid playing them as I would a normal piano chord. Give the strings more space by moving the third of the chord an octave higher (to the violins). For example, with a C minor chord, instead of scoring it (from the bottom up) C - Eb - G, score it C - G - Eb.
• If the strings are providing a supporting role to a melody or section, I try to make this arrangement as "smooth" as possible. Always look for shared notes between chords, and try to hold notes through as much as possible. For example, if moving between G and D chords, hold the "D" note throughout. (Sometimes it's necessary to replay each note if the section is more rhythmic in nature).
Orchestration is a big area! Here's some books I can recommend if you want to find out more about orchestrating:-
