If we set aside Classical, Avant-garde, and sound montages, and focus on what we typically call music, understanding "how music is arranged" becomes straightforward:

1. A piece of music contains no more than eight distinct part types (e.g., verse, chorus, etc.). In fact, there are only eight distinct part types in total.
   Overview of Part Types, their respective roles and the naming used in ArrangerKing
   
   
2. These part types may have different names depending on the genre, but there are only eight fixed roles that apply across all music. Each part type has a specific role in the arrangement.
   
   
3. Part types can appear multiple times and in any order within a piece of music. For example, even an "intro" can be repeated later.
   
   
4. Parts of the same type (e.g., all choruses) always have the same length within a single piece of music.
   
   
5. The lengths of part types are always measured in bars and can only be: 1, 2, 3, 4, 6, 8, 10, 12, 16, 24, or 32 bars.

You may not think these rules apply to your style of arrangement, or worry that they could make your music feel "blocky." Some may even argue that such rules are meant to be broken or don't always apply.

The truth is, these rules are more fundamental to "music" than chords, notes, rhythm, or genre. You can remove the beat, and even play out of tune, but it's only when you break these arrangement rules that you step outside what we commonly recognize as "music."

It's interesting that DAWs don’t inherently embed these part types or number rules, leaving users to guess, memorize, or rely on reference tracks.

By following these rules, writing complete music becomes as intuitive as playing keys on a piano. It’s a simple set of principles you can easily learn, and they apply to every genre. With the right tools, it’s as if you can't play "out of tune" in terms of arrangement.

In most DAWs, we're taught that when we create something new—like an instrument, effect, or loop—it typically implies working with a specific "instrument" that might later play in one or more parts of the track (e.g., chorus, verse, or both).

A part-focused workflow flips this approach. Instead of starting with the instrument, you first create a new part (e.g., chorus, verse) and then assign instruments to it.

Working with ArrangerKing encourages and benefits from this part-based approach. Even in session- or loop-based DAWs, you will naturally shift to a part-based workflow:

1. Each part gets its own track. Sounds, effects, and mix settings for each part type are synchronized as a result.
   
   
2. Final mixing focuses on parts, not individual instruments, simplifying the process and giving you greater creative freedom in expressing each part.
   
   

If you're unsure how to start, don't worry—it’s not as complex as it might sound. For example, if your bass part sounds the same across the entire track, leave it as is. But if you want the bass to change in the verse, just duplicate it and put the verse on its own track. You'll be surprised by how much flexibility and overview this gives you.