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Melodic Material In the song What Art Is we hear quite a number of notes which only appear in the melody

voice Electric Guitar 1. Electric Guitar 2 is playing plain three-note chords with hardly any added colours. The reason for that is not to distract the listeners from the melody, although I'm aware that some of my choices might sound odd when heard first. In the intro we find examples for the melody giving more colours than the rhythm guitar does in measure 9 and 10. The A minor chord is played by the rhythm but we here an F sharp in the fast melody. The ladder is set to A dorian (or even melodic minor) by that note so that the listener actually hears an Amin6. In measure 10 and 11 is an Ab major seven chord because of the note G played over an A flat. In section A we hear a heavily featured B over the Amin, making it Aminadd9 (measure 13). In measure 15 we shortly hear an A played over an Ab chord (making it a flat 9). At first I was not sure if I should leave this false note in. I had a conversation with my guitar docent Erik Rutjes over that note. The obvious solution was to play the C in measure 14 a little shorter and put the line with the A in there instead. But that totally destroyed my idea of having a real slow sounding, dreamy melody with long notes contrasting the hectic intro. It just sounded wrong to me. In the end I came to the point where I regarded the sound of the key (Amin) stronger than the second chord and found it more natural to stick with the A knowing that some listeners would hear a mistake here. For me it is in the flow of the melody. Measure 19 features a B flat which is, although only heard shortly, the turning point of the -again hecticly becoming- melody. So there is a tendence for the listener to hear an Ab add9 instead of the mere Ab chord of the rhythm guitar. Measure 27 not only features a G over the Ab chord (making it Ab major7) but is also using a D and thus turns the sound into an Ab lydian mood. In section B measure 36 we hear an E in the melody which turns the accompaining F6 into a major 7 chord and measure 37 has a D over an F chord in the melody which leads to F6 again. In section C we encounter a number of blue notes for example in measure 39 an Eb over the Amin or a D over Ab in measure 40 which I basically used as chromatic guide notes. Section D has the added 9 highlighted again (measure 44 B over Amin and measure 46 Bb over Ab chord) and by that is giving a slight resemblance to the main theme in section A. Section E comes with a lot of tritonus action throughout measures 47 to 54 (Eb over Amin feel and D over Ab feel). I love the friction and the whacky sound here which allows it for me to describe what it might feel like to go crazy while hectically trying to solve a mounting problem.