Checkpoint: Create a Piano Arrangement
Updated: 2026-07-12After this lesson, you will be able to reread the original 16-measure chart and perform one complete solo arrangement combining bass, voicing, texture, pedal, intro/outro, and balance. You will then defend your choices with a rubric instead of copying one model.
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| Chart data | Measure 1 | Measure 2 | Measure 3 | Measure 4 | Measure 5 | Measure 6 | Measure 7 | Measure 8 |
|---|---|---|---|---|---|---|---|---|
| Key | C major | C major | C major | C major | C major | C major | C major | C major |
| Meter | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 |
| Form | A1 | A1 | A1 | A1 | A2 | A2 | A2 | A2 |
| Chord | C | Am | Dm | G7 | C | Am | F | G7 |
Play melody measures 1–4, then name three decisions absent from the chart: bass type, voicing below melody, and texture. Choose one of each before studying the model.
Source chart and formal plan
The second half is B Am–Dm–G7–C and final A C–Am–G7–C. The entire project is C major, 4/4, AABA, melody range C4–A4, with one harmony per measure. These facts do not change.
| Chart data | Measure 9 | Measure 10 | Measure 11 | Measure 12 | Measure 13 | Measure 14 | Measure 15 | Measure 16 |
|---|---|---|---|---|---|---|---|---|
| Key | C major | C major | C major | C major | C major | C major | C major | C major |
| Meter | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 | 4/4 |
| Form | B | B | B | B | Final A | Final A | Final A | Final A |
| Chord | Am | Dm | G7 | C | C | Am | G7 | C |
One complete arrangement
The model uses soft root–fifth bass in A1, broken chords in A2, sparse blocks in B, and single roots in final A. Melody is always the top note; inner voices begin at A3 and bass stays G2–D3. In measure 1, play with pedal up, then depress immediately. At boundaries through the attack in measure 15, play the new harmony first while the old pedal remains down, then immediately lift and redepress while fingers hold. At the G7-to-C changes in measures 4–5 and 11–12, use that play–lift–and-redepress sequence. At measures 15–16, play the final C while the old G7 pedal is down, lift immediately after the attack, do not redepress, and hold C4/C3 with the fingers for four beats.
Intro, outro, and alternatives
An optional two-measure Dm–G7 intro uses D3–G2 bass and light voicing before measure 1, so AABA remains 16 measures. The outro is measure 16's whole-note C, finger-held for four beats with no pedal. Alternative one uses a chord-free E–G–A–G intro, single bass in A1, arpeggios in B, and tapering blocks in final A. Alternative two omits pedal throughout and uses finger legato. Both preserve the chart.
Exercise
Copy the chart, lock melody as top voice, write bass/texture/pedal choices for 16 measures, and play without stopping. Compare form, register, balance, and boundaries. Revise one choice for an audible reason. Test melody, bass, inner voices, and slow block-pedal separately before recombining.
Level 6 checkpoint
The original 16-measure chart and one complete solo arrangement, with intro/outro, chord and bass plan, pedal plan, two alternatives, and self-assessment.
- Source data: C major, 4/4, AABA, melody, and all 16 chord symbols remain unchanged; a claimed complete G7 is fully spelled.
- Melody and balance: every top note matches the chart, and melody projects above inner voices and bass.
- Register and playability: bass is open and low, harmony is in the middle register, and no muddy closed chord or mandatory strained span appears.
- Texture and form: phrases contrast for stated reasons; intro remains outside 16 measures and outro closes clearly.
- Pedal: measure 1 uses play then down; before the last cadence, change the foot after each new attack, with repedaling allowed at measures 4–5 and 11–12; ranges contain no rests. Across measures 15–16, release the foot only after C sounds, never put it down again, and sustain both tonic notes by finger to the end of beat 4.
- Rationale: state at least two alternative choices and explain the final selection.
Common mistakes
- Symptom: Voicing changes melody. Correction: Lock top notes first and remove inner voices.
- Symptom: Every layer moves continuously. Correction: Choose one source of motion and leave space elsewhere.
- Symptom: Treating every G7–C pedal change alike. Correction: Repedal after C at the two middle cadences. At the last cadence, release only after C sounds, leave the foot up, and sustain C4/C3 by finger through the measure.
Practice pack
1. Prepare
Mark source facts, four phrases, registers, and pedal boundaries.
2. Core drills
Play chart, bass plan, then all 16 arranged measures with intro/outro.
3. Variations
Try two alternative texture plans with melody and harmony unchanged.
4. Self-check
Use all six checkpoint criteria and cite measures as evidence.
5. 5-minute route
Spend one minute on chart and two on each half.
6. 15-minute route
Spend three minutes planning, eight arranging, two on alternatives, and two assessing.
Frequently asked questions
Is the model the only answer? No. Any playable, clear choice preserving source facts can pass.
May I omit pedal? Yes. Clean finger legato is valid.
May the intro add chords? Use only C, Am, Dm, F, and G7 within this checkpoint.
Ready to continue when
- You present the complete chart and 16-measure arrangement.
- Melody, form, meter, key, and harmony are preserved.
- Register, balance, texture, and pedal have audible plans.
- You assess and defend choices beside alternatives.