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Posted

Listening to lots of Bacharach lately, I am struck by the fact that so many of his arrangement elements - countermelodies or brief interludes played by trumpet, marimba, etc. -  have become a part of the tune for practical purposes, even though they are not part of the melody proper.  Who could hum or whistle "Walk on Bay" without hearing that trumpet line under the title?

This sort of thing became much more common in the rock era, because the songwriters were often involved in the arrangement and production of the record, and they would have a specific sound in mind.  Songs, for better or worse, often became associated with a specific record and setting.

This got me thinking about early examples of this kind of thing.  During the Great American Songbook, when radio stations didn't play records, a listener may have experienced a hit tune in a variety of treatments - vocal, instrumental, jazz, latin, etc. - and the song was less tied to a specific arrangement or production.

The earliest example I can think of is "Goodbye" by Gordon Jenkins, with those instrumental lines answering the vocal melody in the stanzas.  It is nearly impossible to think of "Goodbye" without hearing those answering phrases.  

Are there any similar early instances of this kind of thing?

 

Posted (edited)
15 hours ago, JSngry said:

Yeah. No words, but part of the song.

Guess that wouldn't be "arrangement" though. 

Well, I don't want too get too hung up on verbiage.  Whether it is part of the "arrangement" or a line that the composer wrote, without lyrics, both fit the bill.

So, yeah, I would say that this is another example.  

Edited by Teasing the Korean

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