Three phases of an arrangement: Mister Sandman

Mike Neer · Post by **Mike Neer** » 10 Aug 2023 12:18 pm

A few days ago, I was preparing some teaching materials and was looking for tunes with dominant cycles, like Sweet Georgia Brown and Mister Sandman—nothing too jazzy or modern, but something everyone knew and could learn to play on. Since Mister Sandman is one that I never play, I decided to use it. I would say that I like the tune, especially Chet Atkins’ version, but was never motivated to dig in; however, for teaching what I am teaching, it is perfect.

I opened Band In A Box and made a quick chord chart after listening to the Chordettes’ version, though I chose Bb rather than A. After playing over the changes for a day, I thought I should probably learn the melody and the harmonies, so I took out my book and copied down a few of the harmonies I heard, and then tried to find it on the steel. With slanting, I can get a surprising number of chords, so things were looking pretty good. After playing the melody down a few times, I remembered the intro and decided to figure that out. Not difficult at all, but playing it in C6 was leaving me desiring the ability to have the notes ringing into each other the way the voices do. So then I started messing around with harmonics (an obvious choice!). I thought I had it together but realized I can push a little further, so I started playing around and came up with something that I was happy with and to be honest was a revelation to me (more on that later on).

But still, the main objective was to have a vehicle to improvise on. When I think of steel arrangements, I think of Jerry Byrd and remember how that seemed so out of reach to me at one time. Even still, his kind of excellence on the instrument will always be the apex. But I am not Mr. Byrd, and I like to take a tune and arrange it with the goal of blowing over it. I don’t do this with the Scott Joplin and other composed music that I play, but this is the core of who I am. And by the way, I realize that I play a dual role sometimes, where I like to state the tune as a steel player and then improvise thinking as a guitarist–after all, I played guitar for almost all of my life.

So, what follows in this video is the first complete take I played. After watching that, I thought it would be a good idea to actually arrange the whole tune and utilize the modulation like the original. So, back to the computer to edit that Band In A Box file and then I decided to record a quick demo with the new changes (modulation to another verse and then back to original key for improv). This is what you are hearing in this video.

https://youtu.be/APWOwK_2_Pg

The third view has yet to be completed, but I will record that either tonight or tomorrow. I have been having a hard time playing the intro with picks, so what you see and hear is bare fingers in both cases. I guess that’s okay, makes for a funkier guitar playing style.

Anyway, thanks for checking it out and I hope you’ll check out the final version when it’s done.

Bill Groner · Post by **Bill Groner** » 10 Aug 2023 1:01 pm

Nice MIKE! Both steels sounded great.

Chuck S. Lettes · Post by **Chuck S. Lettes** » 11 Aug 2023 6:23 am

Nice job, Mike. Lots of cool patterns. Glad that you are so creative with the steel guitar.
Chuck

Samuel Phillippe · Post by **Samuel Phillippe** » 11 Aug 2023 8:14 am

OK you got me interested....VERY NICE ARANGEMENTS.
I can't say which one is the best. Now you have me hooked on trying to learn this on E9 psg.
Great job Mike

Sam

Mike Neer · Post by **Mike Neer** » 11 Aug 2023 6:11 pm

I appreciate you gents listening, thanks!

I really feel like arranging this tune took me to a place I didn’t expect to go: harmonics.
It’s such a deep subject and I’m just scratching the surface. But the most important part is that I am getting comfortable with artificial harmonics and understanding a little more of the “math” involved in finding other pitches.

Something new to explore every day, I promise. Stick with it.

David Matzenik · Post by **David Matzenik** » 12 Aug 2023 1:10 pm

Its sounds "effortless."

Andy Volk · Post by **Andy Volk** » 13 Aug 2023 6:33 am

I would say that many of us here have restless musical minds and we often go off on tangents but the technical excellence and musicality of your tangents blows my mind.

Mike Neer · Post by **Mike Neer** » 13 Aug 2023 7:49 am

Thanks for listening, I appreciate all the comments. As my friend recently told me, “Music is the best.” I agree 100%.

This is the final version of the arrangement and I’ve posted it to Bandcamp. I like the way it turned out. So, what started as a vehicle for improvising turned into a little project of its own and in the process I think it is a pretty clear example of how preparing yourself for improvisation is not really cheating, but a way of creating a path for you to follow. I tend to like my phrasing to be almost conversational, so an idea can take the conversation in a different direction but it all has to make sense somehow. That is the struggle of it all, I think.

Anyway, it’s free to listen, no strings attached. Ps: I decided to keep it pickless.

https://mikeneer.bandcamp.com/track/mister-sandman

Tim Toberer · Post by **Tim Toberer** » 13 Aug 2023 9:12 am

I just started messing around with Basin Street Blues. It has a similar structure. Thanks for the inspiration!

Andy Volk · Post by **Andy Volk** » 13 Aug 2023 12:07 pm

I arranged this tune about a year ago based on Chet Atkins version but I wasn’t happy with it and never came back. The harmonics in the signature lick from the open are just killer.

Andy Volk · Post by **Andy Volk** » 13 Aug 2023 12:07 pm

I arranged this tune about a year ago based on Chet Atkins version but I wasn’t happy with it and never came back. The harmonics in the signature lick from the open are just killer.

Ron Funk · Post by **Ron Funk** » 13 Aug 2023 4:54 pm

Excellent stuff Mike - thanks for sharing.

Ron

David Matzenik · Post by **David Matzenik** » 13 Aug 2023 10:58 pm

I'm always interested in methods of learning and arrangement, but Jerry Byrd would have rejected me as a student. He said the first thing is to learn the chord progression. Well, I have tried and I still try. I usually write the out the chart before practicing each day, but I can't remember them, and my memory is pretty sharp for things that I should probably forget.

Mike Neer · Post by **Mike Neer** » 14 Aug 2023 3:48 am

David Matzenik wrote:I'm always interested in methods of learning and arrangement, but Jerry Byrd would have rejected me as a student. He said the first thing is to learn the chord progression. Well, I have tried and I still try. I usually write the out the chart before practicing each day, but I can't remember them, and my memory is pretty sharp for things that I should probably forget.

I agree with JB. Even with classical pieces, I will write out the harmony. It is the surest way to help really learn and retain a piece of music. I've been reading a lot on the topic and this is a tool that many of the great classical pianists use. The first thing I do with any of the ragtime pieces I'm arranging is write out the chords and walk around for a few days playing the chords on the uke and singing the melody. It helps it to stick.

Doug Beaumier · Post by **Doug Beaumier** » 14 Aug 2023 5:30 am

I usually start with the chords too. I put together a quick band-in-a-box practice track and spend a couple of days with it, fleshing out the melody and some harmonies and sometimes change the key of the track. Also try various tunings to see which one will work best for that particular song.

Mike Neer · Post by **Mike Neer** » 14 Aug 2023 6:12 am

This is only the second time I’ve used BIAB to create my own track and I liked it so much that I kept the rhythm section because it felt like it was meant for the track. No guilt here, by any means necessary. It’s not like old days where you make a phone call and the band shows up at your house.

Doug Beaumier · Post by **Doug Beaumier** » 14 Aug 2023 9:21 am

BIAB is a great practice tool and its fine for demos and even for some finished recordings. I've been using it for about 20 years. Still using the 2008 version!

BIAB was especially helpful when I was studying modes and trying to understand how they work, how they sound over chord changes, and where and when to use them. Having tracks that I could design specifically to practice the modes made a world of difference! I'm all in on BIAB.

Carey Hofer · Post by **Carey Hofer** » 14 Aug 2023 12:41 pm

Cool, It's very musical and very inventive. You don't run out of ideas when you improvise.

David Matzenik · Post by **David Matzenik** » 14 Aug 2023 1:02 pm

I use BIAB for practice, but I don't always find a style I would like. The choices have improved over the years.

David Matzenik · Post by **David Matzenik** » 15 Aug 2023 2:32 pm

Mike Neer wrote:
I agree with JB. Even with classical pieces, I will write out the harmony. It is the surest way to help really learn and retain a piece of music. I've been reading a lot on the topic and this is a tool that many of the great classical pianists use. The first thing I do with any of the ragtime pieces I'm arranging is write out the chords and walk around for a few days playing the chords on the uke and singing the melody. It helps it to stick.

That is good practical advise. I'm going to adopt it.

Joe Cook · Post by **Joe Cook** » 18 Aug 2023 1:51 pm

I really enjoy your posts, Mike. Thanks for sharing your creative process and talent.You made me realize that non pedal steel is capable of any kind of music. I gave up pedals completely about three years ago and am having more fun than ever! You, and others here, are a great inspiration.

Vladimir Sorokin · Post by **Vladimir Sorokin** » 8 Sep 2023 11:37 am

Hey Mike, what a great version! Thanks for sharing the arranging process with us.

I tried to play this song long time ago on my 8-string Supro, but it was not easy, obviously. So, I used this service to create the fretboard diagrams, and it helped a lot to visualise the notes on the neck. I made some mistakes, any comments are welcome.
But I hope some forum members will find this type of diagrams useful:
https://www.editor.guitarscientist.com/diagrams/31gjdfz

Vlad

Doug Beaumier · Post by **Doug Beaumier** » 8 Sep 2023 11:55 am

Another nice feature of BIAB: you can tap in the notes of a melody and choose which "instrument" you want the melody to play on. I usually choose piano. It's very helpful for memorizing and practicing an unfamiliar song.

Mike Neer · Post by **Mike Neer** » 8 Sep 2023 1:00 pm

The one problem with BIAB that I have encountered is that the ”feel” is never exactly right, although I did like the bass, drums and electric piano in this case. But recently I wanted to play I Fall To Pieces and ended up just playing all the tracks myself, which is how I prefer it. But for just practicing a tune and being able to play it in all keys and change up the feel, it is a great tool for that.

Vladimir, I can’t see what you’re talking about because it requires a login.

Doug Beaumier · Post by **Doug Beaumier** » 8 Sep 2023 3:15 pm

I'm using an older version of BIAB, but when I'm looking for a certain style, I go to the style box and do a search for keywords, for example: shuffle, straight, 16ths, 12/8, willie, hank, patsy, 50s, 60s, rhumba, swing... etc. That really narrows down the styles that might work. And sometimes searching for a word in a song's title will take you to a style that will work.

When I was looking for a track for "Theme from A Summer Place", I searched for the word "Percy" (the Percy Faith Orchestra had the hit recording of that tune)... and I came up with a style called "Percy-slow 12/8 50s Pop"... and it was perfect for that song. Who knew? As always, I only use the bass and drums from BIAB (and sometimes the keyboard) and I add a few live guitar tracks to that.