Arranging and Orchestration Concepts!! 95repeated patterns that are interspersed with interesting fills and unex-
pected rhythmic elements. This approach keeps the drum part interesting.
One technique that helps avoid monotony is to change patterns
between sections. For example, if the bridge has a different pattern than
the main groove of the track and the bridge is repeated a second time,
repeat the same bridge pattern that was used in the first bridge and then
return to the original groove; the goal is to create symmetry.
When composing popular music grooves, one effective tool is to write
numerous one- or two-bar drum and percussion patterns that complement
each other when played simultaneously. After recording the parts, start
eliminating individual instruments and selected patterns. This helps to
create variety without losing the rhythmic feel. A boring drum or percus-
sion part will ruin a track. There is a fine line between a drum part that
has a groove and one that is monotonous.
When adding percussion, apply the same concept used to write
rhythmic grooves.Create repeated patterns and keep the parts simple. A
percussionist or programmer can be inventive when creating fills but not
while establishing basic grooves. Creating a good feel is the objective (not
necessarily showcasing technique) when working in popular music. A lis-
tener might think that the percussion sounds complex, but what he or she
really is experiencing is a combination of parts. Several parts played simul-
taneously create rhythmic syncopation. The individual parts are not neces-
sarily complicated.
One of the advantages of using a computer-based recording program
is having the ability to view the waveforms and ensure that all the parts
are aligned properly.
As previously stated, listen to each section individually and then listen
to several parts simultaneously; each part should ‘‘fit the puzzle.’’ If a part
feels awkward, experiment by moving the waveform (forward or back-
ward) until it is in sync with the other parts.
Since analog synthesis is frequently used in popular music, an
arranger must think in terms of frequency range in order to place the
parts properly within the arrangement.Mentally envision each part as an
acoustic instrument. For instance, a high part might take the place of a
flute, while a mellow midrange sound might ‘‘play the part’’ of a French
horn. Since analog synthesis is usually combined with either realistic sam-
ples or acoustic instruments, programmers must be concerned with the
potential physical problems that can occur with a mixture of sonorities.
The overtones heard in synthesis can sometimes be more complex than
those of acoustic instruments and may create either a muddled or an
unpleasant sound if combined with other instruments. It is the same con-
cern that an orchestrator has when deciding which instrumental combina-
tions will be the most effectual within sections of an orchestration. When
new analog sounds are created, they must be considered new instruments
and be added to the orchestrator’s musical palette.