For a piano audition I have to create my own jazz arrangement

Nobody here knows anything about music.

You would have better luck asking literally anybody anywhere else on the internet.

This board is shit.

voice the chords with both hands. Try playing tenths or sevenths with your left hand and then add the thirds and any other color notes into your right hand voicing with the melody notes at the top. Add chromaticism wherever it sounds good.

>>71416101
That's a good idea, should I vary the rhythm in my right hand between the chord tones and melody? Also do you think I need to add any sort of interest beyond playing nice chords?

>>71416193
Just depends on the context doesn't it? If you're playing it as a simple ballad, it may not need much embellishment other than just the melody and sustained chords. But if there's a rhythm to what you're playing you can always reinforce it with some rhythms in the chords. Adding some countermelody is always nice too.

>>71415977
I might be stating the obvious here, but you will want the LH part to be "interesting" when you have the part of the melody with the long held notes (I'd use arpeggios in the LH and then try to add a basic countermelody in the lower half of the RH when the theme repeats itself bar 9) but when the RH lead part is more "dynamic" you should keep the accompanying parts simple. Also make sure that each time a theme repeats the arrangement is slightly different (you could try reharmonising/modulating in C major the 2nd or 3rd time)

>>71415977
Are you using any chord substitutions or reharmonizations? What do you have so far?

>>71416039
Speak for yourself. As a theory nerd, this is the exact kind of thread I look for in /mu/

>>71416677
Seconded. Also nice double sequential dubs

>>71415977
Not too familiar with the song so I looked it up on youtube. Sounds like it does not need much going on for bass tones. Maybe minimal walking bass notes between chords. Like half step or whole step away leading into next chord. Also experiment with keeping things other than the root in the bass. Like if you have the 13th in the bass you'll get an interesting phrygian style chord, or if you have the 9th in the bass of a major triad you'll get a sus tonality.

>>71416653
I like the sound of the E7 as a Bb7, also raising the fifth. Aside from that, not much reharmonization, but a lot of extensions

>>71416564
Yes, thank you. I had that in mind, good suggestions :)

>>71416345
Do you have any suggestions for what I can do with the rhythm in the left hand? I'm guessing it might not be the best to play the same chord with rhythmic variety.

>>71416862
I really like these suggestions! Definitely trying out the partial walking line, sound's like a really good compromise.

>>71417877
> E7 as a Bb7
Tritone sub. Nice.

>not much reharmonization, but a lot of extensions
Nothing wrong with that. If it sounds good then it is good. An idea for you to think about... With my arrangements I will play through the whole thing multiple times, getting further and further out each iteration. For example, playing as written for the first time through. Then introduce some simple substitutions/extensions. At some point it will get to the point where it is completely reharmonized to really make it my own, like different key or different mode, then bring it back to something close to what was written to end it. That's the great thing about making arrangements with something written in a "real book" format. A lot of room for experimentation and interpretation

>>71418344
I agree! I'm gonna play around with different harmonies to create a sense of progression. Thank you!