Variations on a Theme—Explore Ways to Shape and Reshape a Simple Tune

I’ve always loved how a simple melody can open the door to so many musical possibilities. The concept of theme and variations has been around for centuries, from classical composers to jazz improvisers, and it’s something I naturally gravitate toward in my own playing. For this lesson, I took the Acoustic Guitar Podcast theme music—a piece called “Ilan’s Theme” composed by editor Adam Perlmutter and interpreted by artists like Adam Levy, Joe Gore, and Bruce Cockburn—and explored different ways to shape and expand on it.

Since the melody is strong and singable, it lends itself beautifully to reinterpretation. I approached it through the lens of the styles I love—folk, semi-classical, blues, and jazz—each bringing out something unique in the tune. On the accompanying video, I also improvise over the chord changes to show how a simple theme can evolve in real time. The goal is to inspire you to experiment, trust your ears, and make the music your own. Take your time, play around with the ideas, and most of all, have fun with it!

Getting StartedWhen you’re learning a new piece, the first thing to do is learn the melody. In Example 1, you’ll find the basic melody of “Ilan’s Theme.” Before adding any embellishments, take some time to really absorb it—play it slowly, pay attention to the phrasing, and let it settle under your fingers. The stronger your foundation, the more natural it’ll feel when you start experimenting.

To begin, I play the melody using open strings where possible, as briefly demonstrated in the video. I like to do this first because open strings give the notes a natural resonance that helps clarify the melody. From there, I start making small adjustments, adding color and texture.

One of the first ways I expand on the melody is by incorporating chords, as shown in Example 2. A simple way to do this is by using hammer-ons and pull-offs within a chord shape—here, I use them on an A minor chord, staying within the key of G. These kinds of embellishments add a fluid, almost vocal quality to a phrase, making it sound more expressive without disrupting the core melody.

Another move I use—which is very guitaristic—is a walk down from G to E minor. This I–vi movement is a classic sound, but adding an F# as a passing tone gives it a bit of extra motion. Instead of playing a standard open E minor chord, I play Em(add9), which has a more open and colorful sound than the basic chord. These kinds of small choices can make an arrangement feel fresh and interesting while staying true to the original piece.

For the D chord in bar 6, rather than playing a straightforward voicing, I bring in harmonics at the seventh fret, which form a D major triad (D F# A). In the final bar, these same harmonics imply a colorful Gmaj9 chord (G B D F# A). Harmonics can add a subtle, bell-like shimmer that is especially useful in solo guitar playing. If you’re arranging something for solo acoustic, these kinds of details—open strings, harmonics, and passing tones—help create a fuller and more interesting sound without needing additional instruments.

Another useful way to develop a theme is by harmonizing the melody in sixths, as in Example 3. This is a trick used in all kinds of styles, from classical to country to jazz, because sixths create a strong and smooth harmonic movement that sits well on the guitar. If you’ve never worked with them before, take it slow—play just the harmonized melody without worrying about speed. Once it feels natural, you can start thinking about how to use this interval musically, rather than just as an exercise.

In the last measure of Ex. 3, I do something a little unexpected, adding a G13 chord rather than the more basic G7. These kinds of subtle reharmonizations are great tools for making a piece feel fresh without drastically altering it.

More Choice MovesOne of my favorite ways to take a melody somewhere new is by moving it up an octave and blending harmonics with fretted notes (Example 4). This can be tricky because harmonics sustain differently than regular notes, so the balance takes some control. When I play the high C in the first full measure, for example, I use a very light touch—if I hit it too hard, it sticks out in a way that breaks the flow. Getting the right balance takes some practice, but once you have it, this technique can add a beautiful, airy quality to a piece.

If you’re new to harmonics, start by experimenting with the natural harmonics at the 12th, seventh, and fifth frets. From there, try mixing in fretted notes, paying attention to how they interact. This kind of playing rewards subtlety, so the lighter and more controlled your touch, the better it sounds.

Another variation I like is to give the melody a bluesy feel. In Example 5, I use octaves in the style of Wes Montgomery. Octaves instantly give a melody more weight, making it sound thicker and more vocal-like. They also help emphasize phrasing, since the repeated note naturally draws attention to the contour of the line.

To take it a step further, I punctuate the octaves with some three- and four-note block chords. This is a common jazz technique, but you don’t need to be a jazz player to use it—harmonic moves like these work well in all kinds of settings. They create movement and tension, giving the melody a sense of forward motion. Even a hint of this approach can add a lot of character to an arrangement.

Putting It All TogetherOn page 45 you’ll find a full pass through the theme’s 16-bar form, incorporating the concepts we’ve covered in this lesson—bluesy octaves, chromatic passing chords, harmonics, and more. Check out the video to see how I demonstrate additional variations by improvising on the theme.

Once you’ve worked through these ideas, try applying them to a simple melody of your own. It doesn’t have to be complex—sometimes the most effective variations come from very straightforward tunes. Play around with harmonization, add colorful embellishments, and see where it takes you.

The key is to go for it and have fun. Some ideas will work, some won’t—but that’s part of the process. The more you experiment, the more comfortable you’ll get with transforming melodies in ways that feel natural and musical. No two players will approach this in the same way, which is what makes it interesting. There’s no right or wrong—just different ways of shaping a theme to make it your own.