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 modulation
01:11after we get from that A major. I keep the E, it's still the melody, on the top, but I move the rest
01:19of the triad up a half step. So it gives it a B flat Lydian sound. There's no major seventh in it,
01:25so essentially it could just be like a B flat five. B flat flat five. There's a regular B flat major
01:33triad. I'm just lowering that one voice. It's a really nice tension chord. Then I resolve it.
01:42So the melody, but the harmony over that is going to be B flat with that flat five down to G minor
01:54to F major. So by this point of the tune, my bassist Mike Dane is providing the root,
02:03so I don't necessarily always have to cover that. But what I do, I do play this full chord
02:08here on that B flat Lydian. And then I voice lead up. Now again, choosing very carefully what finger
02:18I'm going to use and how I'm going to end up supporting that harmony, which I, with the bass
02:22in there, I don't necessarily have to do it, but if I'm playing solo for you, I will add that root by.
02:25Okay. But even without that, once you hear this.
02:39That'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.
02:48Okay. But here for the purposes, because it's more of a solo piece right now, give it just
02:59the harmony. And all I needed, all I needed was the root because the melody is the third.
03:03So that's always going to give you the tonality, the sonority of that chord. That's all you need, man.
03:08So I'm essentially running, these are like tenths. It's, I always forget what that interval is.
03:19I'm just having the root and then up a tenth from there, which is the third, up an octave.
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 such a
03:39beautiful, beautiful sounding thing. So I'm employing that.
03:44Just giving that harmony, just that root.
03:50I just play...
03:53Because 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...
04:07It's really just lightly kind of giving...
04:10Because...
04:16So it's essentially going to be the same melodic content up an octave now. I've stated the melody...
04:24And then there's a little connector...
04:25And 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.
04:39Right out of...
04:40I'm always kind of visualizing the chord that I might be playing with.
04:43And it's just out of this F major pentatonic.
04:44Same chord as this.
04:53Now I'm just supporting the melody up here.
04:56With only just, just the fifth and the root.
04:59You've got the note F and B flat.
05:01That's all we need, man. You really hear that tonality.
05:03And as I play the melody and resolve it, it's just a...
05:08It's just that upper part of that common bar chord triad.
05:12Same melody as...
05:18I might have fingered it differently in the play-through, but that's going to be a better way to voice it.
05:31Now, the harmony at that point is F major, but I'm resolving to that melody note of A.
05:49And the next melodic content is really just an arpeggio, so I didn't really find it necessary to...
05:53to give the listener that sense of that root in there, yeah.
06:08Then we're going to modulate back to F sharp minor. How are we going to do that?
06:16So after that F major...
06:17It's all just F major arpeggio.
06:26Down to C sharp.
06:28This is going to be the dominant chord taking us back to...
06:31And I'm just arpeggiating that.
06:38But including the flat nine, which on a dominant chord, especially leading to minor, is one of my favorite sounds.
06:48That leads melodically down to that C sharp, which is the fifth, of the F sharp minor.
07:00And then I go back into the melody down the octave this time.
07:03We will come back into the melody down the octave.
07:05So before we go to the next bridge...
07:07.
07:11.
07:13.
07:19.
07:23.
07:25.
07:26.
Comments