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Moving on with the construction of our song we have arrived to the moment of the arrangement, a word that means a universe and that we can summarize as "the dressing for our dish of pasta": we can leave the pasta completely without anything, or add just a bit of oil and salt, or we can go crazy with the most complex sauces and dressings, to the point that the pasta doesn't even have its original taste anymore.
All of these choices are completely legitimate, and the arrangement will turn out to be almost a reflection of our psychology, of what we actually want to express beyond the lyrics and beyond the pre-costituted conventions in terms of lenght, structure or chord progressions.
The musical variations that we will impress to the main melody (this is the basic definition of arrangement) will make the song minimal or baroque, will transmit to the listener feelings of happiness or sadness, thrill or relaxation.
Click here to know more about arrangements with our in-depth article.
The concept of choosing, giving an imprint, which is typical of when structuring and arranging a song, is the core value also of creating the tracklist of our record: the sequence of the songs it's a flow that must leave the listener wanting always for more, the various moods needs to be alternated and the record, if we want to make a classic that is listened from the beginning to the end without pauses, needs to follow certain proven rules in terms of distribution of the various dynamics (for example it doesn't make sense to put all the slow songs one after the other and then all the fast ones, because people would get probably bored).
Nailing the perfect tracklist is like dressing up, it's all about trying to draw the attention of the people on the parts that we know are good while "hiding" a bit the parts that we are least proud of, and this can be done also by predicting the parts in which the attention of the listener is higher and when it can be lower, or his/her ear fatiguing, assuming that he's listening to the album from the beginning to the end.
This and other informations can be found in our article about how to build the perfect tracklist for our record.
The final suggestion of this article is something that adds up to the building of the perfect tracklist for our record: building the perfect live setlist.
Once our album is ready and the band is all fired up to take it live, it's important also here to spend some minute in deciding the perfect setlist for the gig, since the live public follows dynamics that are different from someone who listens to the album from the bed, therefore we shouldn't just repeat the same tracklist of the record.
The audience live usually comes to be more entertained, so we need to keep the setlist on an average a bit more energetic, and to be able to regain the attention of the crowd if we see it's declining: Click here to read our article with 5 tips on how to compose the perfect setlist for your live gig!
I hope this was helpful!
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