Hi and welcome to Lesson 2 for advanced players based on Q&A Here’s the questions that’s been repeated 3 times. Capitan Planjeta, Przemysław Hejman and Ken Dixon asked me how I played the intro to Street Life in my Lesson 0 for advanced players. OK. There are 3 parts in this example. The first part, it’s a 4 chord progression of 4 suspended dominant chords. Bsus7/9, Csus7/9, Dsus7/9 and Ebsus7/9 (or D#sus7/9 if you like) A “sus chord” means you play a 4th instead of 3rd in the chord. (Csus=C-F-G, E became F) a SUS dominant 7/9 chord is a chord with the 4th, 7th and 9th….and that’s what these chords are made of B (the root), E (the fourth), A (the seventh), C# (the 9th) I play only the middle four strings Csus7/9 Dsus7/9 D#sus7/9 The second part of the intro: Em7/9 Am7 Em7/9=open bottom E, skip the A string, 5th on D, 7th on G and 7th on B Am7 5th fret on E, D,G,B strings The backbeat on the 2nd and 4th beat is the key to make it groovy. The pulse wouldn’t be so obvious without the backbeat It is easier to follow the song if you can hear the backbeat let me play without the backbeat ……and with the backbeat again Don’t know whether it’s the original bass line, I am not desperate to play it note by note as far as it sounds decent and similar. and sometimes I am just too lazy 🙂 The original track is played in the key of F minor You have two options, you can learn how to play it in Fminor which may be very hard and stressful, or you can use the capo on the first fret! Then you can still play all the chords Im showing you but you’d need to move them one fret up! I prefer to play this tune in Em and a half step down shouldn’t make a difference for any singer you want to play this tune with Here is part three and the singing starts here Randy sings this melody… So I can’t play my Em7/9 chord as in this chord the 9th is on top (F# note). In the melody we have an E and G notes, so playing an F# on the top of the chord would interfere the singer So I play Em7 with the G note or E note on top Here is a little movement in the bass part as I like to move the bass part while the same chord lasts for 1-2 bars The last chord – Bm7, play it the same way you played Am7 in this tune, just move the whole shape 2 frets up Bass Part 5, 7 on A string and then open bottom E The chorus continues…..Am7 Dsus7/9 Bm7 etc….. Good luck! Next question is by Kamil Tyski: Thanks for your enthusiasm for sharing your knowledge. How to harmonise guitar parts for 2 guitars for example the end of the song “Paw” by Dzem. How to do it? Would it be enough to start the second part from a further note in a scale? Do I need to know anything else? Are The Modal Scales helpful for this, whatever they mean? Yes, knowing the modes is helpful but not essential…. A good ear will do! you can train your ears by transcribing solos of great guitarists You question and example you mentioned concerns harmonising a melody with thirds It is very popular in classical music (where it comes from) pop music, rock – popularized by British Rock in the 70-80s by Judas Priest, Iron Maiden etc The idea is to add a note that is higher or lower from the melody note by an interval of a minor or major third (depends on a scale) So in the scale of C major, we can harmonise the C note by adding an E note (third above) or an A (third below) Sometimes the lower third hamonisation can be transposed up an octave and then it becomes a sixth in the relation to our root note C, because the A note will be above C not below. So, after this information we know that we can harmonise C with a third up (E) or a third down (A) or we can transpose this note an octave up and it will remain an A note although the interval is not a third anymore, it is now a sixth Sounds complicated but it is not! OK The outro in the song “Paw” is in the key of G minor (Bb major). G Natural minor or Aeolian Mode if you like G A Bb C D Eb F Harmonisation in thirds means you skip the next note in a scale and play the other one. So after you play a G, we have an A – we skip the A, and then we have Bb and this is our note! or moving back we have G – F – Eb, so Eb is our lower third That’s how it works in this tune First guitar plays the melody…….. Second guitar harmonises this melody in thirds (a third up) like this……… second guitar only…….. If the song was written in G harmonic minor, it would sound like this……. So basiclly you’d played an F# not F. In this song we are in G natural so you play an F At the very end the second guitar keeps playing the same line but the first guitar transpose its melody an octave up And that’s why we can hear sixths not thirds So again, first guitar plays melody and then transpose it an octave up. The second guitar plays a third up all the time. The movement will be first in thirds and then in sixths The original parts are played with many bendings and vibrato The chords: Eb, Dm, Gm but Beno, the bass player plays with a reggee feeling and plays 5ths on the first beats of Dm and Eb so the chords are Eb/Bb Dm/A and Gm Let me record the chords to play the melody I’ll use a fantastic Looper Ditto by T.C Electronic. It is a great tool for practicing, you can record any backing track you want for practicing. I wish I’d had one of these when I was a teen! We start with chords only The melody adding thirds! ………………………… I am transosing the melody an octave up (the second guitar part is the same) All the double stops slowly….. Good Luck!