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 we're going
00:22to continue looking at my tune, That Day Came, really kind of discovering ways of having a melody
00:27and supporting it with dyads and chords to fill out the harmony. So let's get into it.
00:57So now we're modulating into essentially F major at this point. There was a little common tone
01:11modulation after we get from that A major. I keep the E, it's still the melody, on the top,
01:17but I move the rest of the triad up a half step. So it gives it a B flat Lydian sound. There's no
01:25major 7th in it, so essentially it could just be like a B flat 5. B flat flat 5. There's
01:32a regular B flat major triad. I'm just lowering that one voice. It's a really nice tension chord.
01:41Then I resolve it. So the melody,
01:43the harmony over that is going to be B flat with that flat 5 down to G minor to F major. So by this point of the tune,
02:00my bassist Mike Dane is providing the root, so I don't necessarily always have to cover that. But what I do,
02:06I do play this full chord here on that B flat 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 up supporting
02:20that harmony, which I, with the bass in there, I don't necessarily have to do it. But if I'm playing
02:23solo for you, I will add that root by. But even without that, once you hear this.
02:31That's the melody. And even without the supporting harmony, of course, I'm familiar with the tune
02:45more than you are, but I hear that harmony implied in just how I'm voice leading.
02:51Okay. But here, for the purposes.
02:52Because it's more of a solo piece right now, give it just the harmony. And all I needed,
03:00all I needed was the root because the melody is the third. So that's always going to give you
03:05the tonality, the sonority of that chord. That's all you need, man.
03:14So I'm essentially running, these are like tenths. It's, I always forget what that interval is.
03:18Just, I'm just having the, the root and then up a tenth from there, which is the third, up a knockoff.
03:28It's good to work those out all over the neck because that third is a beat of a...
03:31Many songs have been written, at least by me, with just those, with that interval. It's,
03:38it's such a beautiful, beautiful sounding thing. So I'm, I'm employing that.
03:44Just giving that harmony, just that root.
03:48I just play
03:51because I want that note to sustain, but here I am just giving just, just the flavor of that
03:58chord by, by including the root, right? So
04:01it's really just lightly kind of giving
04:09because...
04:11So it's essentially going to be the same melodic content up an octave now. I've stayed at the melody.
04:25Then there's a little connector.
04:30And there's that, 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.
04:40Right out of, I'm always kind of visualizing the chord that I might be playing with, and it's just out of this F major pentatonic.
04:45Same chord as this. Now I'm just supporting the melody up here, with only just the, just the fifth and the root. You've got the note F and B flat.
05:01That's all we need, man. You really hear that tonality.
05:04And as I play the melody and resolve it, it's just a, it's just that upper part of that, uh, common bar chord triad.
05:20Same melody as...
05:23I might have fingered it differently in the playthrough, but that's going to be a better way to voice it.
05:32Now, the harmony at that point is F major, but I'm resolving to that, that note, that melody note of A.
05:48And the next melodic content is really just an arpeggio, so I didn't really find it necessary to, to give the listener that, that sense of that root in there, you know.
05:58And then we're going to modulate back to F sharp minor. How are we going to do that?
06:11So after that F major, uh, uh, it's all just F major arpeggio.
06:25Down to C sharp, which is going to be the dominant chord, taking us back to, and I'm just arpeggiating that.
06:33But including the flat nine, which on a dominant chord, especially leading to minor, this is one of my favorite sounds.
06:48And it 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.
07:03And it leads melodically down to that C sharp, which is the fifth, of the X і і і св so
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