Popular Music
Arrangers in pop music recordings often add parts for orchestral or band instruments involving new material such that the arrangers may reasonably be considered co-composers, although for copyright and royalty purposes usually are not. Rhythm section parts are usually improvised or otherwise invented by the performers themselves using chord symbols or a lead sheet as a guide. (Rhythm section instruments usually include guitars, bass guitars, string basses, piano and other keyboard instruments, and drums.)
An existing pop song can be re-recorded with a different arrangement to the original. As well as different instruments, the tempo, time signature and key signature may be altered, sometimes drastically so. The end result is a song that retains familiar phrases and lyrics, but offers something new. This practice was particularly popular in the late 1960s. Well known examples of this include Joe Cocker's version of The Beatles' With a Little Help from My Friends, and Ike And Tina Turner's version of Creedence Clearwater Revival's Proud Mary. The American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits.
Some remixes, particularly in dance music, can also be considered re-arrangements in this style.
Jonathan Tunick is the most prominent arranger, being one of only twelve people to have won Oscar, Grammy, Emmy, and Tony awards.
Read more about this topic: Arrangement
Famous quotes containing the words popular and/or music:
“If our entertainment culture seems debased and unsatisfying, the hope is that our children will create something of greater worth. But it is as if we expect them to create out of nothing, like God, for the encouragement of creativity is in the popular mind, opposed to instruction. There is little sense that creativity must grow out of tradition, even when it is critical of that tradition, and children are scarcely being given the materials on which their creativity could work”
—C. John Sommerville (20th century)
“And in the next instant, immediately behind them, Victor saw his former wife.
At once he lowered his gaze, automatically tapping his cigarette to dislodge the ash that had not yet had time to form. From somewhere low down his heart rose like a fist to deliver an uppercut, drew back, struck again, then went into a fast disorderly throb, contradicting the music and drowning it.”
—Vladimir Nabokov (1899–1977)