Session 19: Song Arrangement Workshop

Duration: 50 minutes

Break: Put the guitar down for 5 minutes at the end of Segment 3. No stretch of playing is then longer than 30 minutes.

Welcome to Phase 4 — Performance Ready. You have spent three phases building technique, learning songs section by section, and developing your musical vocabulary. Phase 4 is about putting it all together — arranging, improvising, an end-of-course run-through and a final showcase. Today’s session teaches you how to arrange a song: combining strumming, picking, melody, and dynamics into a single, polished performance. The piece is an arrangement study in E minor, written for this course: a single-note melody that hands over to strummed chords and comes back at the end.

Learning Objectives

By the end of this session you will be able to:

Name the four parts of a guitar arrangement (intro, verse, chorus, ending) and say what each one does
Arrange a four-chord progression yourself: write down your choices for intro, verse, chorus and ending, then play and record them
Combine single-note melody and chord strumming within a single piece
Play the melody and the chord verse of the arrangement study in E minor
Play a complete arrangement from intro to ending without stopping

Materials Needed

Your Saga SF-600C-BK guitar
A guitar pick
A clip-on tuner or phone tuner app
A metronome
A phone or other device that records sound
Paper and a pen
Handout for this session: Keys And Songs (read after the session, 10 minutes)
Reference: Chord Chart
Reference: Glossary

Segment 1 — Warm-Up and Stretch (5 minutes)

Before You Play

Open and close both hands loosely five times. Circle each wrist five times each way. Touch your thumb to each fingertip in turn. Shake the hands out.

Tune Your Guitar

Tune all six strings (EADGBE). Before you look at the tuner, guess: too low, too high or right? Then look.

Warm-Up

Play the C major scale ascending and descending at 60 BPM, two notes per click (eighth notes).
Play the A minor pentatonic scale (open position) ascending and descending, one note per click (quarter notes), at 65 BPM and then at 70 BPM. On the way up, hammer on the second note of each string.
Play G, Em, C, D, one measure per chord, with the syncopated strumming pattern (Session 13) at 65 BPM, twice round (8 measures).
Waltz strum, D d d, on D and Am, four measures each, at 70 BPM in 3/4.
E5 to A5, palm-muted eighth notes at 70 BPM, 4 measures.
Spider crawl: frets 1-4, one finger at a time, all six strings, up and down. Stop if it pulls or aches.

This activates melody skills, scales, and rhythmic strumming.

Segment 2 — Technique Focus: Song Arrangement Concepts (10 minutes)

What Is an Arrangement?

When you hear a recording of a song, multiple instruments play different parts — drums, bass, rhythm guitar, lead guitar, vocals. When you play a song solo on acoustic guitar, you need to cover multiple roles: melody, harmony (chords), and rhythm — all by yourself.

A guitar arrangement is a plan for how to play a song solo, deciding:

Intro: How you start (a melody line? a soft chord? a riff?)
Verse: How you accompany the vocal melody (strumming pattern, dynamics)
Chorus: How you make the chorus feel bigger (louder strumming, fuller chords)
Ending: How you close the song (fade out? final chord? returning to the intro melody?)

Arrangement Techniques You Already Know

Technique	When to use	Effect
Single-note melody (pick)	Intros, instrumental sections	Pure, clear, attention-grabbing
Chord strumming (D/U or syncopated)	Verses, choruses	Full, rhythmic accompaniment
Fingerpicking (alternating-thumb pattern or arpeggios)	Verses (gentle), intros	Intimate, flowing
Palm-muted power chords	Rock/metal sections	Heavy, driving energy
Dynamic contrast (loud/soft)	Verse vs chorus, section transitions	Musical expression

Creating an Arrangement — Decision Process

For any song, ask:

What is the mood of the intro? (Gentle → fingerpick. Dramatic → melody or riff.)
What is the verse accompaniment? (Gentle → soft D/U. Driving → syncopated pattern.)
How does the chorus differ from the verse? (Louder strumming? Fuller chords? More energy?)
How do I end? (Return to the intro melody? Hold a final chord? Quiet fingerpicking?)

Practice — Arranging a Known Chord Progression

Take the G–Em–C–D progression. Here is one mini arrangement, with the four decisions already made. Set the metronome to 55 BPM and leave it there for the whole piece:

Intro (2 measures): Fingerpick G for 2 measures with the alternating-thumb pattern (Session 15), one note per click.

Verse (4 measures): Strum G–Em–C–D, one measure each, gentle D/U pattern.

Chorus (4 measures): Same chords, but syncopated strumming pattern (Session 13), louder dynamics.

Ending (1 measure): Single G chord, let ring.

Play this mini arrangement now. Notice how the same four chords feel completely different in each section because of the technique and dynamics you choose.

Now arrange it yourself (5 minutes): Keep the same four chords and the same section lengths, but make the decisions your own. Write one line for each of the four questions above (intro, verse, chorus, ending), and change at least two of the choices from the version you just played. Play your version once with the metronome at 55 BPM, record it, and listen back. Check: can you hear on the recording where the verse ends and the chorus begins? If not, make the difference between them bigger and record again.

Segment 3 — New Learning: Arrangement Study in E Minor (15 minutes)

About This Piece

Piece: Arrangement study in E minor (melody and chords) Type: An original exercise written for this course. It is not a song. Not yet play-tested. Credits: Written for this course. What you are learning: An eight-measure single-note melody and an eight-measure chord verse, joined into one 20-measure arrangement.

Tempo: Start at 55 BPM and work up to 70 BPM. In the melody you play one note per click (quarter notes); in the chord verse you strum D/U (down on the click, up between clicks).

Listening (optional): Opening with a single-note melody and then moving to chords is a common way to arrange a rock song. “Wasted Years” by Iron Maiden (Somewhere in Time, 1986; written by Adrian Smith) opens with a fast single-string guitar figure before the chords come in. This study does not use that song’s notes or chords.

TAB — Melody

This melody uses frets 5 and 7 on string 1. You have played these frets before, on other strings, in the “Iron Man” riff (Session 9), but this is the first time on string 1. Fret 5 on string 1 is the note A; fret 7 is the note B.

Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE.

Phrase 1 (measures 1-2)
e|------3---3---5---3---|---0---0---3---0---|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3   4
Finger: 1   1   3   1       -   -   1   -

Phrase 2 (measures 3-4)
e|------3---3---5---3---|---0---------------|
B|----------------------|-------3---1---0---|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3   4
Finger: 1   1   3   1       -   3   1   -

Phrase 3 (measures 5-6)
e|------0---3---5---7---|---5---3---0-------|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3  (4)
Finger: -   1   1   3       1   1   -

Phrase 4 (measures 7-8)
e|------3---0-----------|-------------------|
B|--------------3---1---|---0---------------|
G|----------------------|-------0---2-------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3  (4)
Finger: 3   -   3   1       -   -   2

How to read the rows: The Count row shows the beat each note falls on: one note per click. A count in brackets, (4), is a beat where you play nothing new: keep counting. At the end of Phrase 3 it is a silent beat. At the end of Phrase 4 the last note (string 3, fret 2) is held through it, so that note lasts for beats 3 and 4. The Finger row shows the fretting finger for each note; a dash means an open string. Pick every note with a downstroke.

Finger guide:

Phrases 1 and 2, first measure: keep your hand at fret 3, with finger 1 (index) on fret 3 and finger 3 (ring) on fret 5.
Phrase 2, second measure: while the open string 1 sounds, bring your hand back towards the nut, so that finger 3 plays fret 3 and finger 1 plays fret 1 on string 2.
Phrase 3 (frets 3, 5 and 7): play fret 3 with finger 1, then move your hand up two frets so that finger 1 plays fret 5; finger 3 then reaches fret 7 without a stretch. Coming down, finger 1 plays fret 5 and then moves back down to fret 3. Move your whole hand along the neck, thumb travelling with it. This is a shift, not a stretch. Never hold fret 3 or fret 5 and stretch another finger to fret 7.
Phrase 4: your hand is back near the nut. Finger 3 plays the fret 3 notes, finger 1 plays fret 1, and finger 2 plays the last note (fret 2 on string 3). The little finger is not used.

Full Intro Structure

[Phrase 1 — play once]
[Phrase 2 — play once]
[Phrase 3 — play once]
[Phrase 4 — play once]

Total: 8 measures of melody.

Verse Chord Accompaniment

After the melody, the study moves to a chord progression:

Verse — chord strumming:

Chord:  Em                                  G
Count:  1   &   2   &   3   &   4   &   |   1   &   2   &   3   &   4   &   |
Strum:  D   U   D   U   D   U   D   U   |   D   U   D   U   D   U   D   U   |

Chord:  C                                   D
Count:  1   &   2   &   3   &   4   &   |   1   &   2   &   3   &   4   &   |
Strum:  D   U   D   U   D   U   D   U   |   D   U   D   U   D   U   D   U   |

Repeat for 2 rounds (8 measures total).

Complete Arrangement

[Intro melody: Phrases 1 to 4, 8 measures]
[Transition: one Em strum on beat 1, let ring, 1 measure]
[Verse chords: Em–G–C–D twice, 8 measures, D/U strumming]
[Ending: return to Phrase 1 of the intro melody, 2 measures]
[Final chord: one Em strum on beat 1, let ring, 1 measure]

Total: 20 measures, played at one metronome setting from start to finish. The target is 70 BPM. This study has an intro, a verse and an ending; it has no chorus.

How to Learn This

Step 1 — Intro melody, phrase by phrase: Learn each phrase separately at 55 BPM, one note per click (quarter notes). The new thing is frets 5 and 7 on string 1. Reach fret 7 by moving the whole hand up, not by stretching.

Step 2 — Connect the four phrases: Play all 8 measures of the intro without stopping at 60 BPM, one note per click (quarter notes).

Step 3 — Verse chords: Play Em–G–C–D, one measure per chord, strumming D/U at 70 BPM. This should be comfortable by now.

Step 4 — Connect intro to verse: The transition from melody (single notes) to chords (strumming) is the key arrangement skill. The last melody note lasts for beats 3 and 4 of measure 8. Keep counting, strum Em once on beat 1 of the next measure and let it ring for that whole measure, then start the verse strumming on the beat 1 after that. The switch from picking to strumming should be smooth.

Step 5 — Full arrangement: Intro → transition → verse → ending → final chord, at one metronome setting for the whole piece: 60 BPM first, then 65 BPM, then 70 BPM.

What it should sound like: Three checks you can make alone. (1) Click check: play all 20 measures with the metronome; you never stop and you finish with the click. (2) Count check: every melody note is the string and fret shown in the TAB, three runs in a row. (3) Recording check: record one run and listen once: is the melody at the end quieter than the melody at the start?

Break: 5 minutes. Guitar down.

Segment 4 — Song Workshop: Full Arrangement Performance (15 minutes)

Use this time to polish and perform the complete arrangement study.

Run 1 (learning): Play through slowly. Focus on the intro-to-verse transition.

Run 2 (refining): Focus on dynamics. The intro melody should be clear and singing. The verse strumming should be full but not overpowering. The ending melody should be quieter — like an echo of the intro.

Run 3 (performing): Full performance. Count yourself in. Play start to finish. No stops.

Recovery drill: With the metronome on, play your piece. Stop on purpose for one measure, counting “1 2 3 4” aloud, and come back in on the next beat 1. Do this at three different places.

Performance Notes

For the fret 5 and fret 7 notes on string 1: move your whole hand along the neck, thumb travelling with it. This is a shift, not a stretch.
When transitioning from melody to chords, do not hurry. The last melody note lasts two beats, and the single Em strum fills the next measure. Keep counting through both, and start the verse on beat 1.
The ending should be quieter than the beginning — play the melody softer the second time. This creates a sense of completion.

Segment 5 — Review and Practice Plan (5 minutes)

What You Learned Today

Song arrangement concepts: intro, verse, chorus, ending
How to combine melody, chords, and dynamics in a single performance
The arrangement study in E minor — melody notes up to fret 7 on string 1
Chord accompaniment using Em–G–C–D
Transitioning between melody playing and chord strumming

Common Mistakes

Rushing the intro melody — The melody should sing. Each note needs its full duration. Rushing makes it sound mechanical instead of musical.
Awkward melody-to-chord transition — Do not jump straight from the last melody note into the verse. Hold the last note for its two beats, strum Em once on the next beat 1 and let it ring for the whole measure. This brief pause sounds intentional and musical.
Same dynamics throughout — If the intro and verse sound identical in volume, the arrangement loses its shape. Play the intro with a singing tone, the verse with rhythmic energy, and the ending quietly.
Struggling at fret 5 and 7 — These frets are new on string 1. Move your whole hand along the neck, thumb travelling with it. This is a shift, not a stretch.
Not memorising the arrangement structure — Know the roadmap: intro (8 measures) → transition (1 measure) → verse (8 measures) → ending (2 measures) → final chord (1 measure). Count measures mentally. To learn the piece by heart, use “How to memorise a piece” from Session 6.

Self-Check Questions

Can you play the melody of the arrangement study (all four phrases) at 65 BPM, one note per click (quarter notes)? Check: three times in a row with no wrong note and no stop. If not: go back to 60 BPM for two days, then try again.
Can you move from the last melody note to the Em strum and into the verse without losing the count? Check: with the metronome at 65 BPM, play measures 7 to 10; the Em strum and the first verse strum both land on beat 1, three times in a row. If not: do Step 4 under “How to Learn This” on measures 8 and 9 alone at 55 BPM for two days, then try again.
Can you play the full arrangement (intro → verse → ending) without stopping? Check: all 20 measures with the metronome at 65 BPM; you never stop and you finish with the click. If not: find the measure where you stopped and play it five times slowly before the next run.
Do the intro and the ending sound different in volume? Check: record one run and listen once; the melody at the end is clearly quieter than the melody at the start. If not: play the ending as quietly as you can for two days, then record again.
Can you reach fret 7 on string 1 by moving your hand, without stretching? Check: play Phrase 3 slowly and watch your fretting hand; your thumb travels with your fingers and finger 3 plays fret 7. If not: play the Position Shift row of the practice plan slowly for two days, watching your thumb, then check again. If it pulls or aches, stop for today.

Concert Pieces

Choose your three concert pieces: Write down three pieces from the course that you would like to play in the Session 24 concert, and number them 1, 2 and 3. Choose from the list under “Choosing Your Three Pieces” in Session 23 (turn to it now: the Phase 4 checkpoint asks for three pieces from that list). Take pieces on it that you have already learned; you may swap one later for a piece from Sessions 20 to 22. Each practice plan from now on has a “Concert Pieces” row for them.

Practice Plan for Week 19 (each practice day, 25 minutes)

Block	Time	Activity
Warm-Up	3 min	The warm-up from this session’s Segment 1, then tune. On practice days that means the hand movements and items 1, 2, 4 and 5 of the warm-up list (the two scales, the waltz strum, and E5 to A5); items 3 and 6 (the syncopated pattern and the spider crawl) are for the session itself
Position Shift	2 min	Play notes on string 1 at frets 0, 3, 5, 7, 5, 3, 0 with the Phrase 3 fingering. Move the hand, do not stretch. Repeat until the time is up
Intro Melody	5 min	Arrangement study melody — all 4 phrases, one note per click (quarter notes). Start the week at 55 BPM, then 60, 65 and 70 BPM, moving up only after three clean runs in a row. Repeat until the time is up
Verse Chords	3 min	Em–G–C–D, one measure per chord, strumming D/U at 70 BPM. Repeat until the time is up
Full Arrangement	5 min	Intro → transition → verse → ending → final chord (20 measures), at the same metronome setting as today’s melody. Repeat until the time is up
Concert Pieces	5 min	Piece 1 of your three pieces, from memory as far as you can; check the page afterwards
Barre Chord Maintenance	2 min	Simplified F: C → F → G → C at 60 BPM, one measure per chord. Repeat until the time is up

Barre work: no more than 5 minutes a day in total. Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE. The Barre Chord Maintenance row is your barre work for the day.

This is your plan for the whole week. The end-of-week check is in Weekly Plans Phase 3 4, Week 19.

Guitar Tip — Saga SF-600C-BK

Reaching fret 5 and fret 7 on your Saga takes you into what guitarists call the “middle position.” On a dreadnought guitar, the body meets the neck around fret 14. The Saga’s cutaway ensures that even at fret 12 and beyond, your hand will not be blocked by the upper bout. For this study’s melody, fret 7 is well within easy reach on any guitar — but this is your first step toward the upper frets where the cutaway becomes essential. Notice the dot marker at fret 7 on the side of your neck — use it as a visual landmark when shifting position.

After the session (not part of the 50 minutes)

The reading and the ear recording below are extra to the 50 minutes of the session. Allow about 13 minutes more today for them.

Read: Keys And Songs, from the section “What Is a Key?” to the end of the section “How This Helps You Learn Songs”. This is the part about the I, IV, V and vi chords in the keys of G, C and A; its main section is “The I, IV, V and vi Chords”. The four sections “Going Further: All the Chords of a Major Key (Optional)”, “Going Further: Minor Keys (Optional)”, “Going Further: Relative Major and Minor (Optional)” and “Going Further: Key Signatures (Optional)” are optional. (10 minutes)
Record: this week’s ear check. Mark it on any later practice day. Use the recorded card test (Session 6) with Test 3, play it back. Write one of these six four-note phrases on each slip: 1: E F G E; 2: G F E D; 3: B C D C; 4: D E F E; 5: C D E G; 6: E D C B. Write only the four notes on the slip, not its number in this list: when you record, the number you say aloud is the slip’s place in the shuffled pile (“one” for the first slip you turn over), so that the recording does not tell you which phrase it is. The notes are E (string 1 open), F (string 1 fret 1), G (string 1 fret 3), B (string 2 open), C (string 2 fret 1) and D (string 2 fret 3). Play each phrase twice, slowly. On a later day, listen to both playings, play the phrase back, then turn the slip over and compare the strings and frets you played with the slip. A phrase is right only if every note matched. Pass: 4 of 6. (3 minutes)