Rick and Morty is an animated series which captures the viewer by all the scientific context (probable or unlikely) that is seen, one of them is that of the parallel universes, so I decided to make a version of the starting theme (composed by Ryan Elder) that would be heard in some possible parallel universe.
The base of the song is basically the F note and the melody is in Phrygian mode of it:
F - Gb - Ab - Bb - C -Db - Eb - F
This way the work is done, invites us to develop many harmonic possibilities and to do them it is necessary to consider what melodic-harmonic relationship is going to be formed when placing the chords.
First sentence:
Bbm | C7 (# 9) - Bb6 | F5 | % | % | % |
The first notes of the 1st bar are Bb and Db and if we consider the bass that is F the Bm / F chord is formed, which I decided to make it more obvious by putting it in the fundamental state Bbm
The first part of the 2nd bar has the notes C and Eb in the melody, here the logical thing would be to use another Cm (C - Eb - G) to exit the mode and create a new sensation I put a C7 (C - E -G -Bb) to enharmonically transmute Eb to D # and it becomes a # 9
I harmonized the second part of the 2nd bar with an Ab6 to create an aural-theoretical paradox since this chord normally replaces Abmaj7 (Ab - C - Eb - G) but the melody has Ab and Gb, it suggests an Ab7 (Ab - C -Eb - Gb)
Then comes the use of the F note as a pedal on the bass, and since it is the keynote of the work, various sounds can really be placed during that section and the objective of the work is not lost.
Second sentence:
Bbm | C7 (# 9) - F4 E7 (9) | F5 | % | % | % |
The first 2 chords are the same as the first phrase, a little to certify the bases of this arrangement and to be able to build new variants to the work without any problem.
We enter the universe of quartal harmony by using the F4 (F - Bb - Eb - Ab) which invites us to build descending jousts from any melody, as the melody plays Ab could be built apart from the F4 that I used, a C4 (5), G4 (6), Etc.
The next melodic note is Gb and I basically thought of an Abm7 (b5) (Ab - Cb - Ebb - Gb) however I wanted a sound on the bass that is like a dimensional portal to F, so I used its sensitive tonal E (the old reliable) thus creating an E7 (9) (E - G # - B - D - F #).
Then I go back to using the pedal note technique on the bass, ending with the third phrase where there is no accompaniment (aural void) and reinforcing the notes with its descending 8th.
I really felt like Rick doing the fix!, Cheers.
- Dr Teenitus -
Video: Pablo Bobadilla Rider (Dr. Teenitus)
