Arranging

I've been thinking quite a lot recently about what music theorists call harmonic charge – that is, the amount of inherent oomph a chord has. Quite clearly some chords are more surprising, more jangly, have more of a frisson of energy than others. Having some way to diagnose the relative level of harmonic charge is useful for making both arrangement decisions and performance decisions.

I think of arranging in four stages. Three of them can be reduced to method, but one remains mysterious to me – though I always recognise when it’s happening.

I spend quite a lot of time helping other arrangers learn their craft, and one of the things they give me in return is the chance to reflect on what makes a good arrangement.

I think about this in three layers: