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

00:00 [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

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

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