Arrangement in the context of "Herbert Rehbein"

In copyright law, a derivative work is an expressive creation that includes major copyrightable elements of a first, previously created original work (the underlying work). The derivative work becomes a second, separate work independent from the first. The transformation, modification or adaptation of the work must be substantial and bear its author's personality sufficiently to be original and thus protected by copyright. Translations, cinematic adaptations and musical arrangements are common types of derivative works.

Most countries' legal systems seek to protect both original and derivative works. They grant authors the right to impede or otherwise control their integrity and the author's commercial interests. Derivative works and their authors benefit in turn from the full protection of copyright without prejudicing the rights of the original work's author.

Verse–chorus form is a musical form going back to the 1840s, in such songs as "Oh! Susanna", "The Daring Young Man on the Flying Trapeze", and many others. It became passé in the early 1900s, with advent of the AABA (with verse) form in the Tin Pan Alley days. It became commonly used in blues and rock and roll in the 1950s, and predominant in rock music since the 1960s. In contrast to 32-bar form, which is focused on the refrain (contrasted and prepared by the B section), in verse–chorus form the chorus is highlighted (prepared and contrasted with the verse).

The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. This is referred to as a "breakout chorus". See: arrangement.

Easy listening (including mood music) is a popular music genre and radio format that was most popular during the 1950s to the 1970s. It is related to middle of the road (MOR) music and encompasses instrumental recordings of standards, hit songs, non-rock vocals and instrumental covers of selected popular rock songs. It mostly concentrates on music that pre-dates the rock and roll era, characteristically on music from the 1940s and 1950s. It was differentiated from the mostly instrumental beautiful music format by its variety of styles, including a percentage of vocals, arrangements and tempos to fit various parts of the broadcast day.

Easy listening music is often confused with lounge music, but while it was popular in some of the same venues it was meant to be listened to for enjoyment rather than as background sound.

Swing music is a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Fletcher Henderson and Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era, when people were dancing the Lindy Hop. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Big band leaders of the swing era include Benny Goodman, Duke Ellington, Count Basie, Jimmie Lunceford, Cab Calloway, Benny Carter, Jimmy Dorsey, Tommy Dorsey, Earl Hines, Bunny Berigan, Harry James, Lionel Hampton, Glenn Miller, and Artie Shaw.

A sentimental ballad is an emotional style of music that often deals with romantic and intimate relationships, and to a lesser extent, loneliness, death, war, drug abuse, politics and religion, usually in a poignant but solemn manner. Ballads are generally melodic enough to capture the listener's attention.

Sentimental ballads are found in most music genres, such as pop, R&B, soul, country, folk, rock and electronic music. Usually slow in tempo, ballads tend to have a lush musical arrangement which emphasizes the song's melody and harmonies. Characteristically, ballads use acoustic instruments such as guitars, pianos, saxophones, and sometimes an orchestral set. Many modern mainstream ballads tend to feature synthesizers, drum machines and even, to some extent, a dance rhythm.

In music, instrumentation is the particular combination of musical instruments employed in a composition, and the properties of those instruments individually. Instrumentation is sometimes used as a synonym for orchestration. This juxtaposition of the two terms was first made in 1843 by Hector Berlioz in his Grand traité d'instrumentation et d'orchestration modernes, and various attempts have since been made to differentiate them. Instrumentation is a more general term referring to an orchestrator's, composer's or arranger's selection of instruments in varying combinations, or even a choice made by the performers for a particular performance, as opposed to the narrower sense of orchestration, which is the act of scoring for orchestra a work originally written for a solo instrument or smaller group of instruments.