Andy Timmons - How To Play 'That Day Came,' Part 2
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.
Transcript
00:00 [MUSIC PLAYING]
00:03 Hey, everybody.
00:18 Andy Timmons here.
00:19 Welcome back to Melodic Muse for Guitar World.
00:21 And we're going to continue looking at my tune,
00:23 "That Day Came," really kind of discovering
00:26 ways of having a melody and supporting it with dyads
00:29 and chords to fill out the harmony.
00:30 So let's get into it.
00:31 [MUSIC PLAYING]
00:35 [GUITAR PLAYING]
01:04 So now we're modulating into essentially F major
01:07 at this point.
01:10 There was a little common tone modulation
01:11 after we get from that A major.
01:15 I keep the E as still the melody on the top.
01:18 But I move the rest of the triad up a half step.
01:22 So that gives it a B flat Lydian sound.
01:24 There's no major seventh in it, so essentially it
01:26 could just be like a B flat 5--
01:28 B flat flat 5.
01:32 There's a regular B flat major triad.
01:33 I'm just lowering that one voice.
01:36 It's a really nice tension chord.
01:37 Then I resolve it.
01:42 So the melody--
01:43 [GUITAR PLAYING]
01:46 But the harmony over that is going to be B flat with F flat
01:53 5 down to G minor to F major.
01:59 So by this point of the tune, my bassist Mike Dane
02:02 is providing the root.
02:03 So I don't necessarily always have to cover that.
02:06 But what I do, I do play this full chord here
02:08 on that B flat Lydian.
02:11 And then I voice lead up.
02:12 [GUITAR PLAYING]
02:15 Now again, choosing very carefully
02:17 what finger I'm going to use and how
02:18 I'm going to end up supporting that harmony.
02:21 With the bass in there, I don't necessarily have to do it.
02:23 But if I'm playing solo for you, I will add that root by--
02:26 [GUITAR PLAYING]
02:30 But even without that, once you hear this--
02:31 [GUITAR PLAYING]
02:35 That's the melody.
02:40 And even without the supporting harmony--
02:43 of course, I'm familiar with the tune more than you are.
02:46 But I hear that harmony implied in just how I'm voice leading.
02:48 [GUITAR PLAYING]
02:51 OK.
02:51 But here, for the purposes--
02:53 [GUITAR PLAYING]
02:56 Because it's more of a solo piece right now,
02:58 give it just the harmony.
02:59 I needed-- all I needed was the root,
03:01 because then the melody is the third.
03:03 So that's always going to give you
03:05 the tonality, the sonority of that chord.
03:07 That's all you need, man.
03:08 [GUITAR PLAYING]
03:12 So I'm essentially running--
03:15 these are like tenths.
03:16 It's-- I always forget what that interval is.
03:19 I'm just having the root and then up a tenth
03:22 from there, which is the third up an octave.
03:24 [GUITAR PLAYING]
03:28 It's good to work those out over the neck, because that third is
03:30 a beautiful--
03:31 [GUITAR PLAYING]
03:34 Many songs have been written, at least by me,
03:37 with just those-- with that interval.
03:38 It's such a beautiful, beautiful sounding thing.
03:41 So I'm employing that--
03:42 [GUITAR PLAYING]
03:45 Just giving that harmony, just that root.
03:46 [GUITAR PLAYING]
03:50 I just play--
03:51 [GUITAR PLAYING]
03:53 Because I want that note to sustain.
03:56 But here I am just giving just the flavor of that chord
03:59 by including the root, right?
04:01 So--
04:01 [GUITAR PLAYING]
04:05 It's really just lightly kind of giving--
04:09 [GUITAR PLAYING]
04:10 Because--
04:11 [GUITAR PLAYING]
04:14 So it's essentially going to be the same melodic content up
04:19 an octave now.
04:20 I've stated the melody.
04:21 [GUITAR PLAYING]
04:24 And then there's a little connector.
04:26 [GUITAR PLAYING]
04:29 And there's that darn pinky playing most of the melody
04:33 there as I get to the top.
04:34 This is all just a run up of F major.
04:36 [GUITAR PLAYING]
04:40 Right out of--
04:41 I'm always kind of visualizing the chord
04:43 that I might be playing.
04:43 And it's just out of this F major pentatonic.
04:45 [GUITAR PLAYING]
04:53 Same chord as this.
04:54 Now I'm just supporting the melody up here
04:57 with only just the fifth and the root.
04:59 You've got the note F and B flat.
05:02 That's all we need, man.
05:03 You really hear that tonality.
05:04 [GUITAR PLAYING]
05:07 And as I play the melody and resolve it,
05:09 it's just that upper part of that common bar chord triad.
05:14 [GUITAR PLAYING]
05:21 Same melody as--
05:21 [GUITAR PLAYING]
05:25 I might have fingered it differently in the play through.
05:31 But that's going to be a better way to voice it.
05:33 [GUITAR PLAYING]
05:36 Now, the harmony at that point is F major.
05:41 But I'm resolving to that melody note of A.
05:45 [GUITAR PLAYING]
05:49 And the next melodic content is really just an arpeggio.
05:52 So I didn't really find it necessary to give the listener
05:55 that sense of that root in there.
05:57 Yeah.
05:58 [GUITAR PLAYING]
06:01 Goes.
06:04 [GUITAR PLAYING]
06:07 And then we're going to modulate back to F sharp minor.
06:10 How are we going to do that?
06:11 [GUITAR PLAYING]
06:15 So after that F major--
06:16 [GUITAR PLAYING]
06:20 It's all this F major arpeggio.
06:23 [GUITAR PLAYING]
06:26 Down to C sharp, which is going to be the dominant chord taking
06:30 us back to--
06:31 I'm just arpeggiating that.
06:33 [GUITAR PLAYING]
06:36 But including the flat 9, which on a dominant chord,
06:41 especially leading to minor, is one of my favorite sounds.
06:43 [GUITAR PLAYING]
06:46 And it leads melodically down to that C sharp, which
06:50 is the fifth of the F sharp minor.
06:52 [GUITAR PLAYING]
06:55 And then I go back into the melody down the octave
07:02 this time.
07:04 [MUSIC PLAYING]
07:08 (upbeat music)
07:10 you