Common Mistakes that Beginning Arrangers Make, and How to Avoid Them

Through necessity or inspiration, arranging is one of the most common creative endeavors that performing musicians take on. Most of us who have tried our hand at arranging have learned the hard way, through trial and error, that there are some hard and fast rules we must follow for a successful outcome. Besides a good working knowledge of harmony, voicing, and voice-leading, a good arranger has learned to be in command of the musical forces for which they are writing. This is where beginners often get tripped up. Here are three mistakes that beginning arrangers make and how to avoid them.

Know your forces

Books and websites that list instrument ranges are quite common. But they may list ranges that are too narrow, resulting in a limited palette of sound, or too large for useability by every ensemble. Also consider that range limits are not the only thing you need to successfully write for an instrument. Here are some general guidelines: 

• Know the ranges of the instruments you’re writing for. “Authoritative” sources may differ. Some more professional instruments have modifications that allow larger ranges. Get to know the limitations of the particular instruments who will be playing your arrangement. Talk to a musician who might actually play your music.
• Learn the difficulties for each instrument—difficulties which are not addressed at all in instrument range guides. Certain fingering combinations may be almost impossible to play. Ask a performer on the instrument in question.
• Don’t strain your musicians. Musicians make their music by engaging muscles to move their bodies to make sound. Muscles have limits. When writing for any instrument, but especially for voice or brass, be aware of writing music that is too high for too long, too loud for too long, and offers no rest so muscles can recover.
• Avoid too many large leaps. Without some basic knowledge of how the instrument is played, an arranger might not realize that a note combination that is easy on a piano keyboard may be nearly impossible on a string or wind instrument. 
• Write parts that make sense all by themselves. Some beginning arrangers write inner or non-melodic parts that sound awkward when played by themselves. Think about how to make every part make sense by itself.
• Keep track of brass mutes. This one is listed here because it is a pet peeve of mine. I have performed more than one composition, by big-name composers no less, that required the trombonist to have three hands: one to hold the instrument and depress the valves, two to move the slide, and a third hand to hold the mute and make the “wah-wah” sound. Know the instrument you’re writing for well enough to avoid such absurdities. Make friends with musicians who play those instruments. Also understand how much time is required to put on and take off a mute. In my experience, most modern composers have no idea of the logistics of picking up a mute, putting it on, and getting ready to resume playing.

Know your musicians

If you are writing for top professional musicians, you can get away with a lot—extremes of range, extremes of volume, or longer periods without rest. However, if you are writing for student or amateur musicians, keep their possible limitations in mind as you write. Range guides don’t work for every player on a certain instrument; some may be too extreme or too conservative. All musicians, whatever their level of attainment, want to perform well and please their audience and their peers. Give them a chance to succeed. Good music doesn’t have to be extremely difficult.

Have a plan

Many beginning arrangers start their projects without a clear structure in mind. Ask yourself: what function on a concert program is my arrangement fulfilling? How long should this arrangement be? What are my thematic materials? What sections should the music have? Do I need to modulate to different keys? Who is my audience? How difficult can I make it, given rehearsal limitations? What instruments are available? What instruments do I really need for this arrangement to succeed? How can I make this arrangement more interesting and beautiful?

These issues are just some of the issues you need to consider for success as an arranger. Keep in mind that the best authority for how to write for an instrument is usually a musician who plays that instrument. Learn to hear the sounds of your ensemble in your musical mind so you are open to vivid shapes, textures, and colors. But most importantly, keep writing so you can keep learning your craft!