Have you ever been at a point in your life where you just wanted to start over?
Shedding old customs and traditions, moving to a new country in a cloak and dagger operation, burning all bridges behind you?
But then you think of everything that you would miss…
These are the chords:
The chords point to a very distinct B minor tonality
Bars 1 to 4
Starting on an upbeat is the key to happiness!
Followed by a lot of arpeggios in B minor, A major, B minor again, D major and finally B minor.
A# is played to underline the character of B harmonic minor as a scale.
With this note F#5 becomes an F# major, because A# is the major third of the F# major chord.
Bars 5 to 8
There is no shame in repeating a good melodic phrase.
The only difference is last note B the major third of the underlying G major chord
Bars 9 bis 12
Let’s move on with another B major arpeggio.
In this case the perfect fifth F# is bended upwards from the E. In bar 10 I play a F# minor arpeggio which adds to the underlying E5 chord the options F# (major ninth), A (perfect fourth) and C# (major sixth).
I land on the A as the perfect fifth of the upcoming D chord.
In bar 11 I play the same B minor arpeggio just one octave higher.
Bar 12 brings us a G major arpeggio with A# as the target note.
The underlying chord is F#5 so we turn it into an F# major by playing this A# as the major third.
Bars 13 bis 17
Closing in with some nice melodies based on the B minor scale.
But always look at the target notes: in bar 13 it’s F# as the perfect fifth of B and the E as perfect fifth of A.
In bar 14 the B as major third of G and the F# as the root note.
The arpeggio on beat 3 in bar 14 sounds a bit exotic by adding the notes D and D# (minor and major sixth), A and A# (minor and major third) as well as the G (minor ninth)
The final phrase needs some stamina, so start practicing slow. The end of the run is of course the root note B.
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