This bachelor’s thesis explores how piano trio arrangements can be developed using models from the jazz tradition of the 1950s and 1960s. Through analysis and transcription of selected recordings by McCoy Tyner, Oscar Peterson, Horace Silver, and Bud Powell, key arranging techniques are identified in relation to the formal sections of introduction, theme presentation, ending, and shout chorus. These techniques are examined with a focus on rhythmic, harmonic, and textural aspects.

The analytical work is combined with an artistic component in which four original piano trio arrangements are created. In this process, the identified techniques are adapted and reinterpreted in new musical contexts. The results show that many arranging techniques can be abstracted into general principles, enabling creative application without resulting in direct imitation. At the same time, certain techniques, such as canonic structures, are shown to be more dependent on specific melodic conditions.

The study demonstrates that working with models can serve as an effective tool for artistic development. By focusing on smaller musical fragments, it becomes easier to transform analytical insights into original material. The thesis thus contributes both to an analytical understanding of the piano trio format and to practical approaches to jazz arranging.