Andy Timmons - How To Play 'That Day Came,' Part 2 - video Dailymotion

Guitar World

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.

Transcript

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.

Andy Timmons - How To Play 'That Day Came,' Part 2

Category

Transcript

Recommended