Tune Up arrangement

Hi !
Im getting serious about starting my Tune Up arrangement, and i watched the lesson on introductions, and i would like to create a 4-3-6-2-5-1 introduction exept i don’t know if that would be a good thing, knowing that the tune starts by a 2-5-1.

Maybe should i only play a 4-3-6 introduction which lands on the first 2-5-1 ?


Hi @Guillaume,

You make a great point about the tune starting on 25, and you are correct, it’s good to end the intro with the 6.

I would try to start the intro with something that gives a hint of the tonality, in this case the first tonic Dmaj.

I would use for example Dmaj as the first chord (1-4-3-6-2-5-1-6) :

You can extent this to an 8 bar intro by playing all the chord for 1 measure.

OR you can also use the last 4 or 8 bars of the song as an intro, this is very common way to build intros, and in a tune like this works well as the harmony itself is more complex than a usual standard.

Hope this helped, let me know if you have any other questions,



Hello @Tuomo, thanks for your answer, that’s sounds awesome, im going to work on this !!


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Hey all, this is my introduction for Tune Up, the playing is not really fluid yet but it will come, i don’t know if i’ll keep this rythm or not, let me know if something is wrong, or if you have anything to make it better. This a very exciting process !

This is what i’ve done:

  • The first chord is a Dmaj with D-F#-B in the left hand, and in the right E, G#, A, C#, the inner vocing is: D and C# first, then F# then B and A, then G#, finally E.

  • The next chord is a Gsus4 with G and F in the left hand, C-E-G-B in the right hand, the voicing start with B in right, then i hit all the rest of the chords.

  • The 2 notes then are Eb and B, i thought it would be good to use them, as a “come back” to G dominant with the b13 and the 3, and a nice transition to F#-.

  • Then its F#- with a full F#-7 in the left (F#, A, C#, E) and in the right (A,C#,E,G#)

  • Then i hit a F#, and goes to the B chord with, B-F#-A in the left, and in the right C-D#-G#, the G# goes to a F#.

  • Moving onto E-, i play it E and B in the left, D-F#-G in the right hand.

  • I then play 3 drop chords, i just listened again and this is wrong, i should’ve played this instead

So my drop chords are starting from E-7 with the E at the bass, then we move with 1 full ton interval each time for 2 times.

  • the next is Dmaj with A in the bass, A-D-E left hand, and G#-C#-E-F# left hand, the inner voicing goes like this: A and F#, then D, then E in the left and C# right hand, then E right hand and finally G# right hand.

  • I hit a E then goes to B with A at bass, A-B-F# left hand, and F-G#-C# right hand, the F# and F are in the same octave.

Thanks to the ones whom take the time to read me and help :slight_smile:


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Sounds awesome @Guillaume,

I really like the last voicing, very nice useful modern sound!

Also you bring the melody note out nicely, very good playing.

Can you make the intro into a sheet music? Just for everyone to study?

Keep up the good work!


Hey @Tuomo , thank you very much, yes of course, that would be my pleasure to make a sheet music, also, this might take some time, because that will be my first one, but i’ll try my best, and keep you update on that, and on the rest of the arrangement !



Nice voicings @Guillaume - your intro sounds great :star_struck:

Hey guys, i’m back and full of energy and inspirations, i didn’t have lots of time during summer to practice, but i’m here now, working on the Tune Up arrangement on the first 251 in Dmaj, my question is, on the Dmaj chord, i would like to “improvise a little line”, does the line has te be related to the main melody of the tune, or it could be different ?
Glad to be back


Hi @Guillaume, do you mean that you want to improvise a little line during the theme?

Usual ‘guide line’ is that first time you play the melody, we should stick with the original, and after that we can variate.

‘Tune Up’ is a great song for variating the melody as it is very simple and consists of only longish notes.

Can you send an audio or notated version of your improvised line?


@Tuomo these are the 2 ideas i came with

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Hi @Guillaume, sounds good! Here some suggestions.

I like both versions,

Version 1: I really like how you use the E triad over Dmaj, having that #11 lydian sound, but I would not finish the line to the root D, maybe instead you could play:


Version 2: Awesome, do you think of using this over the Dmaj? Can you record a new version of this with a chord under it? It’s really nice, but you have to be careful with the Eb in the melody, if it’s over Dmaj :slight_smile:


Hi @Tuomo , im glad you liked my ideas, here is the version 2 with the voicing i would like to play for this Dmaj chord:

The voicing is: D-G#-D for the left, C#-F# for the right hand, I don’t know why chords voicings with a semi ton in the middle, come naturally in my mind.

For the version 1 with the E triad, i thought a bit about the course of Jovino on improvising with triads, and the courses on Upper structure triads.


Sounds great, let me know when you have more material so we can go through the whole arrangement!

Great work,


Hey, im back, still working on this same chord…here’s what i came with, i wasn’t totally happy with the “E triad line”, but i liked the idea, so i kept it, and there’s a C# in my voicing, which is a part of a F# major triad, so i took that and played a line in 3rds, coming back and forth between the 2 triads (E and F#) (please don’t pay attention to my playing in this record)

Sounds great,

how would you continue from that?

Remember to keep the same amount of tension throughout the phrase.

Good work,


That’s also what i was wondering :sweat_smile: knowing thats a major chord, maybe its too much tension that i can’t really release, might keep this idea for later…nevertheless it gave me more ideas like, working with Dmaj triad and Emaj, something like this:

From that im going to play a Dm7b5, with hitting a D at the base and Ab-C-F up, also im moving the melody of the second 251 (in Cmaj) up an octave

Can you record a little longer example?

Would be easier to hear the cool stuff in context :slight_smile:

Sure thing !

Thats what the 251 in Dmaj looks like, and the Dm7b5 at the end

Sounds great, just few things,

can you play a low bass note under the E/Dmaj triad melody?

Also you can try different order of notes on that part, for example:


Also can you find more dissonant voicing for the D-7b5? Just because you have cool modern stuff in the beginning, it sounds to me that the D-7b5 also should have little more ‘edge’ to it :slight_smile: