Theory
Through yesterday you chose voicings and rhythms. Today it's arranging. Onto the plain skeleton of a basic ii–V–I (Dm7-G7-Cmaj7), lay Week 6's 9th tensions and Week 7's top-note melody to make your own refined version.
Two tools:
- Color with 9ths. Dm7 → Dm9, Cmaj7 → Cmaj9. The progression shimmers like R&B/city-pop.
- Sing with the top note. Carry the topmost note as a melody across the progression (e.g., the guide tones C-B-B singing on top).
There's no right answer. Today's challenge is designing it yourself: "to make this progression cooler, where do I add a 9th, and what do I put on top?" You're no longer someone who plays a song "as handed to you" — you redraw it "your way." At first, changing just one spot is plenty. Those small choices pile up and eventually become "your sound."
See it
Dm9 (9th on the ii). Yellow is the 9th (E), green the guide tones.
Cmaj9 (9th on the I). Yellow is the 9th (D). A plain Cmaj7 turns shimmering.
Example 1 — 9th reharmonization (Dm9 - G7 - Cmaj9). Add 9ths to the ii and I to brighten the progression. Yellow is the color.
▶ BPM 78, repeat 4×. Dm9 → G7 → Cmaj9. Adding the 9ths (yellow) makes the same progression far more refined. Whether to add a 9 to G7 too is your choice.
Example 2 — top-note melody line. The topmost note sings over the progression: C (Dm7) → B (G7) → B (Cmaj7). 1st string 8 → 7 → 7, a barely-moving guide-tone melody.
▶ BPM 72. 1st string 8 → 7 → 7. The chords change but the top note stays nearly put at C-B-B. Lay this melody on top as you comp and the progression sings. Repeat 4×.
Today's practice
0–10 min · Warm-up Fret Dm9·Cmaj9 and check the 9th rings cleanly. Then learn Example 2's top-note line (C-B-B) on the 1st string.
10–20 min · Brain training (today's target = your own color) Ask yourself, "where do I add a 9th? What goes on top?" Write out the basic ii–V–I and design how to lay 9ths / top notes on each chord.
20–40 min · Real comping (Examples 1 & 2 / 74–84 BPM) Spin Example 1's 9th reharmonization at BPM 78 to add color, and lay Example 2's top-note line on top to sing. Combine both tools into your own four-bar arrangement.
40–50 min · Record & reflect (recommended) Record 30 seconds of your arrangement. Check: do the 9ths shimmer / does the top-note melody connect / is it more refined than the plain original?
Done when: you can lay 9ths and a top-note melody onto a basic ii–V–I to design and comp your own reharmonized version.
- Cramming in every tension. The 9th is seasoning. Add it in one or two spots to stay refined; adding it everywhere muddies it.
- Color but forgetting the top note. Use 9ths and top notes together. Color (9th) + song (top) meeting is real arranging.
- Not comparing to the original. Alternate the plain version and your arrangement to hear the difference.
- Hunting for a right answer. Your version is the right answer. Try several arrangements.