Style Explorer
Discover the full range of CLARA's arrangement styles. Each uses different musical patterns, voicings, and textures.
Choral Accompaniment
Start arrangingStandard Hymn Block Chords
Try this styleTraditional four-part hymn accompaniment with root-position and first-inversion chords. Simple rhythmic alignment with the melody. Suitable for congregational singing.
Root motion following standard progressions. Octave bass on strong beats.
Close position, root and first inversions. Occasional second inversion at cadences.
One chord per beat or per half-measure, matching the hymn's harmonic rhythm.
RH: C4-C6, LH: C2-C4. Bass doubles the lowest voice.
Variants
Bach Chorale Harmonization
Try this styleFour-part voice leading in the style of J.S. Bach's chorale harmonizations. Rich suspensions, passing tones, and figured-bass influenced inner voices.
Mostly stepwise with occasional leaps of a 4th/5th. Walking bass feel.
Open and close spacing alternating. Strong voice independence.
Predominantly one chord per beat with passing harmonies on weak beats.
SATB ranges. Piano transcription spans C2-G5.
Variants
Gospel Piano
Try this styleAfrican American gospel tradition. Stride bass, rich extended chords, rhythmic syncopation, and fills between vocal phrases.
Stride pattern (bass note + chord). Walking bass in transitions. Octave runs.
Extended chords (7ths, 9ths, 11ths). Cluster voicings. Parallel motion common.
Fast harmonic rhythm with passing chords and chromatic approaches.
Full piano range. Bass goes low (C2-G2), RH voicings can be high (up to C6).
Variants
Rutter-style Choral Accompaniment
Try this styleLush, flowing accompaniment in the style of John Rutter's choral works. Arpeggiated figures, warm added-tone harmonies, supportive but not overpowering.
Flowing, often arpeggiated. Pedal tones under moving harmony.
Added 6ths, 9ths. First and second inversions for color. Smooth voice leading.
Moderate. Harmonic changes aligned with phrase structure.
Full but warm. Avoids extremes. RH: C4-E5, LH: G2-D4.
Variants
Shape Note / Sacred Harp
Try this styleCamp meeting and singing school tradition. Open fifths, parallel motion, modal harmony, raw and powerful.
Strong root motion. Octave unisons. Parallel motion with upper voices.
Open fifths and octaves. Parallel 4ths and 5ths accepted. Sparse inner voices.
Slow. One chord per measure common.
Moderate range. Emphasis on mid-register clarity. LH: C3-G3, RH: G3-D5.
Variants
Taize Ostinato
Try this styleMeditative, repetitive accompaniment in the style of Taize community chants. Simple ostinato patterns, gentle harmonic motion, designed for communal singing.
Sustained roots or gentle root-fifth rocking motion.
Simple triads, close position. Narrow register for warmth and intimacy.
Slow. One chord per measure or half-measure. Harmonic simplicity is key.
Narrow, mid-register. RH: C4-G4, LH: C3-G3. Avoids extremes.
Variants
Anthem Accompaniment
Try this styleRich anthem-style accompaniment with melody doubling, broken-chord bass, and dramatic build. In the tradition of Mendelssohn, Stanford, and Willan.
Broken chords and arpeggiated figures, more active than block-chord hymns.
Full chords with melody doubled on top. Rich inner voices.
Moderate to fast. Harmonic changes support the text rhythm.
Wide. RH: C4-F5, LH: C2-D4. Bass is active and melodic.
Variants
Solo Voice Accompaniment
Start arrangingArt Song / Lieder Accompaniment
Try this stylePiano accompaniment for solo voice in the German Lied tradition. Flowing arpeggios, warm harmonic support, expressive dynamics. Inspired by Schubert, Schumann, Brahms, and Wolf.
Rolling arpeggios (Schubert), block bass (Brahms), or octaves (Schumann).
Warm close voicings. Added color tones. Voice-doubled in inner parts.
Moderate to slow. Supports the text-driven vocal line.
RH: E3-E5. LH: D3-C#5. Based on Schumann analysis.
Variants
Impressionist Accompaniment (Debussy)
Try this styleFluid, coloristic piano accompaniment inspired by Debussy and Ravel. Whole-tone and modal coloring, wide-spaced arpeggios, atmospheric textures.
Fluid arpeggios or sustained pedal tones. Avoids heavy root motion.
Wide spacing. Added 9ths, 11ths. Whole-tone and modal color.
Slow to moderate. Harmonic changes are gradual, not abrupt.
RH: B3-Bb5. LH: E2-G#4. Based on 20 Debussy works.
Variants
French Mélodie (Fauré)
Try this styleElegant, flowing accompaniment in the French mélodie tradition. Gentle arpeggios, subtle harmonic movement, understated beauty. Inspired by Fauré, Duparc, and Hahn.
Gentle rolling arpeggios. Barcarolle-like rocking motion.
Close, warm voicings. Gentle added tones. Smooth voice leading.
Moderate. Subtle, not sudden changes.
RH: B3-D5. LH: F#2-C#4. Based on 20 Fauré works.
Variants
Late-Romantic Lied (Wolf)
Try this styleIntense, chromatic piano accompaniment in the style of Hugo Wolf. The piano is an equal dramatic partner — declamatory, contrapuntal, and harmonically adventurous.
Active, chromatic. Octave bass in dramatic passages.
Rich chromatic voicings. 7ths throughout. Wide dynamic range.
Variable — can be fast and restless or sustained.
RH: C#4-D6. LH: F#2-G#4. Based on 25 Wolf works.
Variants
Solo Instrument Accompaniment
Start arrangingSolo Instrument Accompaniment (Sonata)
Try this stylePiano accompaniment for a solo instrument — violin, flute, cello, oboe, etc. Classical sonata style with Alberti bass, complementary RH figures, and dynamic support that thins when the soloist is active.
Alberti bass (default), sustained, or arpeggiated. Reflects cello/bass function.
Inner voices — avoids doubling the solo melody. Close position chords.
Follows the solo part's phrase structure. One chord per beat typical.
RH: C#4-B5. LH: G#2-F#4. Based on 34 Mozart/Beethoven works.
Variants
Classical Orchestral Reduction
Try this stylePiano reduction of orchestral accompaniment. Alberti bass, tremolo, and idiomatic piano figurations representing orchestral textures.
Alberti bass, arpeggiated, or sustained. Reflects cello/bass part.
Varies by orchestral section being represented. Close voicings for winds, wide for strings.
Follows the orchestral score. Can be fast in development sections.
Full piano range exploited. Octave doublings for tutti sections.
Variants
Full Orchestral Reduction
Try this styleDense piano reduction capturing the weight and color of a full orchestra. Octave-doubled bass, thick block chords, wide dynamic range. Sounds like a rehearsal piano score for a symphony.
Octave bass on strong beats. Inner voice chords on weak beats. Full low register.
Full, wide voicings. Top voice doubled at octave for tutti brilliance. Inner chord fills.
Follows the harmonic content. One chord per beat with rhythmic energy.
RH: C4-C7. LH: C1-G4. Full piano range exploited.
Variants
Romantic Solo Accompaniment
Try this styleRich Romantic-era piano accompaniment for solo instruments. Fuller and more virtuosic than classical sonata style. Inspired by Brahms, Schumann, and Dvořák chamber works.
Flowing broken chords, sustained bass, or dramatic octaves.
Rich 7th chords. Close voicings in warm register. Full sonority.
Moderate. Supports the soloist's phrasing.
RH: Bb3-G5. LH: D2-F4. Based on Brahms/Schumann corpus.
Variants
March / Processional Accompaniment
Try this styleStrong rhythmic piano accompaniment for marches and processionals. Oom-pah bass pattern, clear harmonic foundation, steady pulse. Suitable for brass, woodwinds, or any solo instrument.
Oom-pah pattern (bass-chord-bass-chord). Strong downbeats.
Block chords, clear triads. Strong root position.
Regular, one chord per beat or half-measure.
RH: C4-C6. LH: C2-G3. Full, strong register.
Variants
Impressionist Accompaniment (Debussy)
Try this styleFluid, coloristic piano accompaniment inspired by Debussy and Ravel. Whole-tone and modal coloring, wide-spaced arpeggios, atmospheric textures.
Fluid arpeggios or sustained pedal tones. Avoids heavy root motion.
Wide spacing. Added 9ths, 11ths. Whole-tone and modal color.
Slow to moderate. Harmonic changes are gradual, not abrupt.
RH: B3-Bb5. LH: E2-G#4. Based on 20 Debussy works.
Variants
Vocal Harmonization
Start harmonizingSATB
Try this styleFour-part vocal harmony: Soprano, Alto, Tenor, Bass. Full choral texture using harmonic analysis and voice-leading rules.
Soprano, Alto, Tenor, Bass
Single melody line
Smooth, nearest pitch
Individual vocal parts
SAB
Try this styleThree-part vocal harmony: Soprano, Alto, Bass. Great for smaller choirs, youth groups, or simpler arrangements.
Soprano, Alto, Bass
Single melody line
Smooth, nearest pitch
Individual vocal parts
Ensemble Orchestration
Start orchestratingTransform a piano score into a chamber ensemble arrangement. Clara analyzes piano textures — block chords, arpeggios, tremolo, pedal tones — and translates them into idiomatic writing. String quartet parameters derived from corpus analysis of 121 real quartets.
Available Ensembles
String Quartet
The classic chamber ensemble — rich four-part writing.
Violin I, Violin II, Viola, Cello
String Trio
Intimate three-voice texture with clear lines.
Violin, Viola, Cello
Piano Trio
Violin melody + cello bass over the original piano.
Violin, Cello, Piano
Wind Quintet
Colorful five-part woodwind and horn writing.
Flute, Oboe, Clarinet, Horn, Bassoon
Brass Quintet
Brilliant five-part brass writing with power and warmth.
Trumpet I, Trumpet II, Horn, Trombone, Tuba
Custom Ensemble
Pick exactly which instruments to include — perfect for school bands and custom groups.
Choose your instruments
Orchestration Styles
Baroque
Try this styleContrapuntal lines, terraced dynamics, separated bow strokes, Bach/Handel/Vivaldi style.
Classical
Try this styleClean voice separation, balanced registers, Haydn/Mozart quartet writing.
Romantic
Try this styleRich sustained textures, long legato phrases, expressive contour dynamics.
Impressionist
Try this styleColoristic effects, pointillistic texture, harmonics, ethereal atmosphere.