Part 2 of the Solo Piano Arranging Series
After walking through the general approach to solo piano arranging, let’s dive into a specific example: how I arranged Peter Gabriel’s iconic tune, “In Your Eyes.”
This song has so much rhythmic nuance and textural depth that creating a solo piano version is both a
challenge and a joy. My goal wasn’t to copy every part, but to capture the emotional and rhythmic essence of each section while adapting it to the piano.
Section 1: Verse, Part 1
The first part of the verse lives on a simple chord progression: B minor to G major, with a D major chord
showing up at just the right moment for contrast. But the magic isn’t just in the chords — it’s in their
placement. Sometimes that D chord lands squarely on beat 4; other times, it jumps in early on the “and” of 3.
My piano choices: – A simple left-hand bass that outlines the chord changes – Right-hand chords with light rhythmic syncopation to echo the feel of the original track – A melody line that floats just above,
rhythmically independent but grounded.
This section is about restraint and rhythmic interplay. Think: steady engine in the left hand, conversational phrasing in the right.
Section 2: Verse, Part 2
Here, things start to move. The chords shift between A and A/G, with B minor showing up as a transition. The guitar adds a fluttery sixteenth-note figure that gives it momentum.
On piano: – I borrowed that rhythmic texture, using the third and fourth of A major to create a similar
flutter – Added a rhythmic “and of 3” note in the left hand to fill out the groove – The melody here gets more rhythmically complex, so I let the lyrics guide the phrasing. Singing the words internally helps shape the flow naturally.
This is where you stop counting and start feeling.
Section 3: Pre-Chorus
This transitional phrase is short but emotionally powerful. The big moment here? A G chord with a C# that replaces the expected D. That little twist creates beautiful tension.
My move: – Keep it simple and smooth, focusing on the emotional lift – Emphasize the descending melodic line (D → C# → B) with careful dynamic shaping
Section 4: Chorus
Everything opens up here. The key shifts up a fifth (to E major), and the groove changes: there’s a strong backbeat on beat 4, and the background vocals punctuate with “Your Eyes” on beat 1.
My piano version: – Accent beat 1 for those “Your Eyes” hits – Drop a heavier left-hand chord on beat 4 to mimic the backbeat – Use rhythmic contrast between the background “vocal hits” and main melody
This section is about contrast — a call-and-response between the top voice and the groove underneath.
Ending and Coda
Gabriel’s original fades out with a repeated chorus and layered vocals. That doesn’t really work on solo
piano. So I vamped the chorus chords and crafted a satisfying final cadence.
Choices: – I repeated the chorus groove a few times and let it gradually thin out – I avoided landing on A/C# to end (sounds unresolved) – Instead, I ended on E major or moved to its relative minor, depending on the mood I wanted to leave the listener with
Final Thoughts
Arranging a song like “In Your Eyes” is about capturing the spirit of the original, not copying it note for note. Find the elements that make each section unique — a bass pattern, a syncopated hit, a lyrical phrase — and build your piano version around those.
Every section can tell a story. Your job, as the solo pianist, is to let your hands do the talking.
Stay tuned for more arranging ideas in this series. And if there’s a song you want to learn how to arrange, leave a comment or reach out!