Introduction to arrangement:
Arranging is to take an original song belonging to you or someone else and creatively remake it, so its still recognisable as the original song by the melody or chords, but has a new sound and new musical elements to it, making it obviously an altered version. This could be done for many reasons, one being for advertising purposes, where a composer may have a brief asking them to create an existing song in a new style which would be appropriate to use in their advert, but creative remixes and reworks, more traditional covers and completely different covers are all arguably arrangements as well, and these could be for many purposes. An arrangement, could sound very similar to the original in terms of the instrumentation, tempo, textures and structure or could be far different, and only recognizable as the original by one component. The variables that could be changed in an arrangement are things like the instrumentation, tempo, textures and structure but could also include the time signature, the major or minor key, a transposition of key, timbre and alterations of the rhythmic or melodic phrasing.
Changing the melodic phrasing will create the most obvious difference as often the melody or tune is the most memorable part of a song, especially when used for the purpose of advertising, and changing some of the other techniques maybe more subtle, but could be crucial to change if your brief were to change the genre as certain techniques are synonymous with certain genres, like for example a slower tempo, thin textures and minimal instruments like a piano and some strings would be common in a ballad or music supposed to evoke emotions, so if the brief was to create an emotive and mellow version of a pop song, the new arrangement would apply some of the for mentioned techniques to achieve this.
Arrangements differ from a standard cover version like often heard on talent shows, as they usually use an identical backing track, and the only alteration is the new singers voice instead of the original artist. Also they differ from remixes, as although remixes may explore a change in style, tempo etc. they usually source material from the original track or the entire original mulit-track, which an arrangement will not. Some composers make arrangements for clients to use, like for radio or television adverts, and some use them to build up their repertoire or just practise their skills for if they're asked to do a piece of work like this, as its very common that composers will be given assignments of this nature.
Comparisons of two tracks:
I'm So Lonesome I Could Cry (Original by Hank Williams, Covered by Al Green)
The original version of this track was recorded by Hank Williams in 1949, 24 years before Al Green's cover. The original is in a country style using instruments synonymous with the genre, like a lap steel guitar, acoustic guitar for rhythm and a fiddle during instrumentals, as well as the usual rhythm section of a bass and percussion, which is only to keep the beat in the song. It's in a 3/4 time signature, which is evident in the rhythm guitar playing which has a sort of chugging sound like so many southern country songs have. The style is minimal and simple as country is a genre born from the roots and played by and for people who were the poorer sections of American society. It's structure is simple also, consisting of an intro, 3 verses separated by an instrumental and an instrumental towards the end featuring the fiddle. The chords structure remains the same throughout and the variation comes from the different instruments introduced in the instrumentals, and the varying lyrics in the verses, the only constant lyric being that of the title.
Al Green's version is far removed from the original, and is made to suit his Soul style. The introduction contains strings, more prominent drums, subtle choral vocals and electric guitar playing a little. The most obvious change is that the time signature has been shifted from 3/4 to a straight 4/4 which has a knock on effect on the phrasing of the vocals, and the length of the notes in the melodies. There are also a few subtle chord changes as well, like for example a change to a major chord under the lyric "too blue to fly" in the first verse, which is excentuated by the wurlitzer piano, and gives it a more feel good soul vibe, which the original never had. Also Green's vocals move away from Williams, as he adds a soulful affectation to put his own slant on the track, and showcase his vocal range, and keep it in fitting with a soul singing style, which is often to improvise certain bits of melodies, and add "oohs" and "aahs" where they seem fit. They also use the more advanced studio recording techniques available to them, like double tracking vocals, and having the two tracks intercept each other to add elements of interest, which Williams simply couldn't do with their means of recording. Finally, Green's version is finished with a fade out, where all the instruments and vocal get equally quieter until no longer audible, which again Williams couldn't have done with his recording, so the original just finishes with a final chord allowed to ring out on the bands instruments.
I like both versions, but admire the ambitious production of Al Green's version, which shows the songs potential to work as a soul track so different from the original, and providing what it could've sounded like if Hank Williams recording could've been made at a different time. I think Al Green's version worked well, and though the changes weren't subtle they didn't compromise the original's sound too much.
Satisfaction (Original by The Rolling Stones, Covered by Cat Power)
The Rolling Stones released "Satisfaction" as a single in 1965, and Cat Power's cover version appeared on her LP "The Covers Record" in 2000. She wasn't the only artist to cover this track as artists such as Otis Redding, Devo and Aretha Franklin have all produced interesting takes on the track, some closely replicating the original and some taking it in different directions completely.
The Rolling Stones were a true Rhythm & Blues band informed by American Blues and other older American music. They were a five piece consisting of two guitarists, a bassist drummer and lead vocalist, so all that featured on the track were these instruments with additional backing vocals and some tambourine percussion in parts. It's a simple and catchy band song, lead by the lead guitar riff on fuzzy overdriven guitar, simple open major chords on the acoustic guitar and a simple but functional bass and drum pattern. The track starts with the chorus line opening and the verses follow in this pattern.
Cat Power's version is a sparse version containing just her vocals and and acoustic guitar, giving the song a completely different vibe. The chords have been changed from major to minor to change the mood of the song. It's slightly slower and than the upbeat original, showing how the lyrics of the track could have been differently interpreted and could have a deeper meaning. The most apparent differences are that there's no riff at all, and she starts the track with the first verse instead of the chorus. The structural and timbrel changes make this version almost unrecognisable from the original. Her cover also features a different lyrical phrasing in the later verses of the song, which add to her ownership of the version, and making it more creative than a straight cover would've been.
I think Cat Power's cover version is an interesting take on the track, but for me it doesn't make sense. I don't think the lyrics of the song or the vibe suggest that it makes sense as a more slowed down almost folky track, and feel that the way to have reworked this song would be to build upon its simple band release. In interview Keith Richards has said he wanted their version to be built up with brass and strings, like Otis Redding's version which does just that, and I believe that would be a better direction to take the track. However, I think the version was done with respect, and Cat Power wanted to stretch the track and play to her strengths also when performing it.
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