Minute Minuet - 2|
Difficulty Rating: Intermediate-Advanced
Lesson by: Kirk Lorange
Here is another version of the Minute Minuet. I found it so enjoyable fiddling around with these classical pieces that I wound up with two different versions. I'm sure there's a way of merging them both together into a Two Minute (or even Three) Minuet, but I'll leave that up to you if you want to give it a whirl.
You'll quickly hear that this one starts out the same way as Minute Minuet 1, but when it gets to the Am, it heads off down another path. There is an extra little eight-note bit in this one (bars 3 and 5), but essentially, the first 6 bars are the same as version 1. Like the other one, it's really just a melody line and a bass line. Only one real chord appears, right at the end. But, you'll see in the movie how I hold down whole chord shapes whenever it's convenient, even if I'm only playing two notes from that shape. I've mentioned many times in these lessons that doing that is a sort of security net just in case the picking hand misplays a string. At least I'll be hitting another chord tone and the mistake will be much less obvious to the listener.
I've written the basic underlying chord names for this in the tab. I could have added a lot more detail to the names, but it seemed silly to do so. There are lots of suspensions and slash chord names to the progression, but you will find that if you strum along using the chords I have indicated, it all works well. There are a few places where you might ask yourself how the chord name fits the fingering, for example, bar 8 and 16 ... I call that lone F bass note Dm. The underlying chord there (even though no one is playing it) is a Dm/F, a First Inversion; in bar 22 I call that double stop C7 ... the underlying chord is a C7 played over its flat7, so C7/Bb, a Third Inversion. How do I know that these are the 'right' chord names? Well, because I wrote the little ditty, and those are the chords I hear as being the underlying structure. 'Harmonizing' is the science/art of fleshing out a melody line into a chord progression. In this case, I have more than just a melody line -- I also have a bass line. As I put this together, both lines emerged together -- with a bit of juggling and a lot of listening. But what I was hearing in my head was the chord progression and that's how I knew what to juggle where.
Enough of all that stuff! The fact is, this is a great little piece to get those fingers moving independently, to practice some subtle pull-offs and timing details (end of bar 8, 15 and 28) and once you've locked it all in, it's a joy to play.
The TAB for Minute Minuet 2