Andy Timmons taught us the first eight bars of his song "That Day Came," , "Theme from a Perfect World."
In this lesson, he picks up the composition from bar 9 and continues through the next eight bars, up to bar 16.
In this lesson, he picks up the composition from bar 9 and continues through the next eight bars, up to bar 16.
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MusicTranscript
00:00Hey everybody, Andy Timmons here, welcome back to Melodic Muse for Guitar World, and
00:21we're going to continue looking at my tune, That Day Came.
00:25Really kind of discovering ways of having a melody and supporting it with dyads and
00:29chords to fill out the harmony.
00:30So let's get into it.
00:59So now we're modulating into essentially F major at this point.
01:09There was a little common tone modulation after we get from that A major.
01:15I keep the E, it's still the melody, on the top, but I move the rest of the triad up a
01:20half step, so that gives it a Bb Lydian sound.
01:25There's no major 7th in it, so essentially it could just be like a Bb b5.
01:32There's a regular Bb major triad, I'm just lowering that one voice.
01:35It's a really nice tension chord.
01:41Then I resolve it.
01:42So the melody, with the harmony over that, is going to be Bb with that b5, down to G
01:54minor, to F major.
01:59So by this point of the tune, my bassist Mike Dane is providing the roots, so I don't necessarily
02:04always have to cover that.
02:06But what I do, I do play this full chord here on that Bb Lydian, and then I voice lead up.
02:15Now again, choosing very carefully what finger I'm going to use and how I'm going to end
02:20up supporting that harmony.
02:21With the bass in there, I don't necessarily have to do it, but if I'm playing solo for
02:24you, I will add that root by...
02:30But even without that, once you hear this...
02:35That's the melody.
02:41And even without the supporting harmony, of course I'm familiar with the tune more than
02:45you are, but I hear that harmony implied in just how I'm voice leading.
02:51Okay, but here, for the purposes...
02:57Because it's more of a solo piece right now, give it just the harmony, and all I needed
03:00was the root, because the melody is the third.
03:03So that's always going to give you the tonality, the sonority of that chord.
03:07That's all you need, man.
03:14So I'm essentially running, these are like tenths, I always forget what that interval
03:18is.
03:19I'm just having the root, and then up a tenth from there, which is the third, up an octave.
03:26It's good to work those out all up in the neck, because that third is a beautiful...
03:35Many songs have been written, at least by me, with that interval, it's just such a beautiful
03:40sounding thing.
03:41So I'm employing that...
03:42Just giving that harmony, just that root.
03:50I just play...
03:54Because I want that note to sustain, but here I am, just giving just the flavor of that
03:58chord by including the root, right?
04:01So...
04:02It's really just lightly kind of giving...
04:16So it's essentially going to be the same melodic content, up an octave now.
04:20I've stated the melody...
04:21Then there's a little connector...
04:26And there's that darn pinky, playing most of the melody there as I get to the top.
04:34This is all just a run-up of F major.
04:41I'm always kind of visualizing the chord that I might be playing, and it's just out of this
04:44F major pentatonic.
04:45Same chord as this.
04:46Now I'm just supporting the melody up here, with only just the fifth and the root.
04:59You've got the note F and B flat, that's all we need, man, you really hear that tonality.
05:06And as I play the melody and resolve it, it's just that upper part of that common bar chord
05:14triad.
05:21Same melodies...
05:28I might have fingered it differently in the playthrough, but that's going to be a better
05:31way to voice it.
05:37Now the harmony at that point is F major,
05:41but I'm resolving to that melody note of A.
05:49And the next melodic content is really just an arpeggio,
05:52so I didn't really find it necessary to give the listener that sense of that root in there.
06:07Then we're going to modulate back to F sharp minor.
06:10How are we going to do that?
06:15So after that F major...
06:21That's all this F major arpeggio.
06:26Down to C sharp, which is going to be the dominant chord,
06:29taking us back to... I'm just arpeggiating that.
06:33But including the flat nine, which on a dominant chord, especially leading to minor,
06:41is one of my favorite sounds.
06:48That leads melodically down to that C sharp, which is the fifth of the F sharp minor.
06:52And then I go back into the melody down the octave this time.