|
|
The Yellow Tinker
This is another three-part tune. While G is the tonal center for this tune, the first and third parts are in the Mixolydian mode (that is, there is a flattened 7th chord in the key) while the second part alternates between the Mixolydian mode and the G major key. This makes for some pretty interesting harmonic progressions with the use of the flattened seventh chord. This F major chord is the same shape as the G major.
|
|
|
The Yellow Tinker with substitutions
There is an unusual harmonic addition to the first part this time. I use an F# major as a passing chord between the G and F chords in both ascending and descending movements. All three chords are played with the same shape (I've occasionally used G modal 1 here but it's as easy to play G3 each time). In the first bar I move from G to F on beat 3; I slide to the F# major on the + of 3 and I return to the G chord on the + of 4. Changing chord on the upbeat like this gives the tune a very "swingy" feel. I change chords in bar three on the same upbeats and in bar four I move to the C chord on the + of 2. Take note of the small rhythmic changes that I make throughout the part. Bars one and five are the same. Bars three and seven are the same while in bar six the F chord comes on the + of 2 and the F# on the + of 3.
The first three chords of the second part give a jazzy feel to the tune. The second two chords are seventh chords so this adds to that sound. In the first bar, E minor, the relative minor, is used as a substitute for G, but in bar three (and half of bar seven) an A minor 7th is used as a substitute for G. I also play the B minor in the second bar half a bar early; this allows the same rhythm (emphasizing beat 2) to be played until the fourth bar where there are two chords and I change the accent to the 1 and 3. These harmonic and rhythmic patterns are repeated in the second four-bar phrase.
A motif from the first part reappears in bar nineteen with the F# passing chord being employed again. The tune finishes on a most unusual chord that almost leaves it hanging in mid air. The chord is a C suspended second chord and acts as an alternative to the G chord at the end of the part. This can be particularly effective when returning to the G major chord at the start of the tune.
|
|
|
| |
|
|
|
