I’ve arranged "Everything Happens To You" for solo piano using my 2+2 chord arranging method.

Thelonious Monk often used 2+2 voicings, particularly in the first six bars of "Everything Happens To Me" before gradually adding more notes. He frequently returned to the 2+2 style, and you can observe how the left hand often remained relatively static in this transcription:

This is one of over 1,000 arrangements I’ve created, most of which follow the 2+2 chord arranging approach. These arrangements cover nearly every tune in The Real Book and adhere to a few simple rules, providing a strong foundation for players. For beginners and intermediate students, the 2+2 method offers a clear and manageable approach to chord arranging. By focusing on two notes in each hand, students can avoid the complexity of more advanced voicings and concentrate on developing their spontaneous voicing skills. This simplified approach builds confidence and encourages consistent practice, making it easier for students to progress and explore more complex arrangements over time. As students advance, they are encouraged to enhance their arrangements by adding notes and fills, allowing each piece to become uniquely their own.

Explore 1,000 Arrangements of Standards at www.patreon.com/HarryLikas

As the technical editor for Mark Levine's The Jazz Theory Book and a collaborator on The Jazz Piano Book, I bring decades of jazz expertise to every arrangement.

Discover 1,000 arrangements I’ve created, covering nearly every tune in The Real Book. These are streamlined arrangements that follow a few simple rules, providing a foundational framework.
www.patreon.com/HarryLikas
Harry was the technical editor for Mark Levine's "The Jazz Theory Book" and contributed to the development of "The Jazz Piano Book."

    HarryLikas my 2+2 chord arranging method.

    I don't know what you mean by this. Do you mean SATB? Or do you mean that LH plays intervals instead of chords?

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    ... feeling like the pianist on the Titanic ...

        Animisha
        In a nutshell, as far as I can tell:
        Starting with commonly used lead sheets (melody and chord indications only), this method of arranging involves playing the root and the seventh of the chord in the left hand, the third in the right hand together with the melody.
        To make the voice leading sound smoother, the arranger sometimes alternates root and seventh in the left with root and third, adding the 7th instead to the right hand.
        This is indeed a good way for those that are interested in learning how to play from lead sheets to approach the task.
        Later, the students can learn how to add other chord tones and qualities indicated in the chord "shorthand".
        Besides reading these written out examples from Mr. Likas, the student can apply this method to unmodified lead sheets and obtain stylistically appropriate, if simplified, results.

            Thank you for your explanation pseudonym58!

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            ... feeling like the pianist on the Titanic ...

              Thank you pseudonym for your clear and well-explained explanation! You made the concept easy to understand, and I really appreciate the effort you put into breaking it down so effectively.

              Discover 1,000 arrangements I’ve created, covering nearly every tune in The Real Book. These are streamlined arrangements that follow a few simple rules, providing a foundational framework.
              www.patreon.com/HarryLikas
              Harry was the technical editor for Mark Levine's "The Jazz Theory Book" and contributed to the development of "The Jazz Piano Book."

              Discover 1,000 arrangements I’ve created, covering nearly every tune in The Real Book. These are streamlined arrangements that follow a few simple rules, providing a foundational framework.
              www.patreon.com/HarryLikas
              Harry was the technical editor for Mark Levine's "The Jazz Theory Book" and contributed to the development of "The Jazz Piano Book."

              Discover 1,000 arrangements I’ve created, covering nearly every tune in The Real Book. These are streamlined arrangements that follow a few simple rules, providing a foundational framework.
              www.patreon.com/HarryLikas
              Harry was the technical editor for Mark Levine's "The Jazz Theory Book" and contributed to the development of "The Jazz Piano Book."