Summertime changes

Discussion in 'Playing and Technique' started by MartinPiana, May 20, 2008.

  1. MartinPiana

    MartinPiana Supporting Member

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    We've had a heat spell in Southern California the last few days, which has reminded me of the many chord variations measures 5-8 that get played in "Summertime." The two groups of people I play with do it differently, my Jamey Aaebersold does it a third way, and I have a fourth version. And everybody plays it in a different key.

    My questions:

    1. What chords do you use as the basis for measures 5-8?
    2. What key do you play it in?
    3. For the last two measures of the chorus, do you play a turnaround or go back to the i-V7 vamp?

    Here's how I often play measures 5-8 when left to my own devices (in Cm, for the sake of convenience).

    Fm Ab
    Bm Fm7b5
    G7 D7
    G7 G+
     
  2. MartinPiana

    MartinPiana Supporting Member

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    Anyone? I'm not completely satisfied with the choices I've found for those measures, would appreciate feedback. I'm sure a few of you have this song in your repertoire! Thanks.
     
  3. henry_the_horse

    henry_the_horse Member

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    Check the Real Book 2 (the illegal version).
    I play the version Kenny Burrell does for the first 4 bars:
    |Im6 / IIm7 / | IIImaj7 / IIm7 / | [two times]

    for the last 4 measures I play:
    |IIImaj7 / I-7 / |IV-7 / V7 / |
    with a walking bass figure.
     
  4. rudi

    rudi Member

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    here's one version:

    C-7/D-7 EbM7/D-7 C-7/D-7 C-7/CAlt

    F-7/G-7 AbM7/Adim G7/Ab7 G7/Db7

    C-7/D-7 EbM7/D-7 C-7/D-7 EbM7/F-7Bb7

    EbM7/C-7 D-75b/Db7 C-7 GAlt
     
  5. dewey decibel

    dewey decibel Supporting Member

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    How I play it completely depends on how the other guys play it. I can't count- which measures are 4-8? Is that the, "fish are jumpin, and the cotton is high," part? Generally that goes to the iv7 chord. Here's the absolute basic changes as I see them (in C as that looks like what most of guys are in):

    Cmin | Cmin G7 | Cmin | Cmin |

    Fmin | Fmin/Eb | Dmin7b5 | G7 |

    Cmin | Cmin G7 | Cmin | Fmin Bb7 |

    Eb | Dmin7b5 G7 | Cmin | Cmin |



    Now what you go to at the iv7 chord largely depends on what you're doing on the basic Cmin section (same with the turnaround at the end). If you're playing some kind of rhythm figure you'll probably just repeat it for all sections. If you're doing a more straight ahead jazz thing you'll just want to follow the soloist/melody. Keep in mind that anytime you want more movement you can add in a quick V7 or ii7 V7 to the minor chords, as in bars 3, 4, 5 ,6, etc. Also a lot of times you'll see a lot of walk down ii-Vs- here's an exampe:


    Cmin6 | G7alt | Cmin6 | C7alt |

    Fmin7 Bb7 | Ebmin7 Ab7 | Db7#11 | G7alt |

    Cmin6 | G7alt | Cmin7 F7 | Fmin Bb7 |

    Eb | Dmin7b5 G7 | Cmin6 | Db7#11 |

    You don't have to take all the chord names literally, it's just some options. It's more important to know the tune's basic structure well so you can sub in changes and go in whatever direction the rest of the players are going.

    As far as keys it's usually Amin or Dmin. I think I've also done it in Cmin and Ebmin.
     
  6. JJK

    JJK Member

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    The way I play it is like this:

    Dm7|Em7b5/A7b13|Dm7|Dm7

    Gm7|Gm7|Em7b5|A7b13

    Dm7|Em7b5/A7b13|Dm7|Gm7/C9

    Fmaj7/Bbmaj7|Em7b5/A7b13|Dm7|Em7b5/A7b13

    I hope this helps...
     
  7. JonR

    JonR Member

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    I like what I think are the original Gershwin changes on bars 1-4, which are melodic minor:

    |Am6 / Bm6 / |Am6 / Bm6 / |Am6 / Bm6 / |Am6 / A7alt / |

    - although most people play it as a dorian vamp: |Am7-D9|, or |Am7-Bm7|.

    I also like this one (kind of phrygian):
    |Am7 / Bbmaj7#11 / |Am7 / Bbmaj7#11 / |Am7 / Bbmaj7#11 / |Am7 / Bbdim7 / |
    or (funkier):
    |Am7 / Bb7#11 / |Am7 / Bb7#11 / |Am7 / Bb7#11 / |Am7 / Bbdim7 / |


    Then the most common changes for 5-8 in my experience are these:

    |Dm / Dm(maj7) |Dm7 / Dm6 / |Bm7b5 / / / |E7#9 / / / |

    The only fixed things here are the initial Dm and E7 (and the latter could be a tritone sub Bb7#11). There are various ways you can get from one to the other, bearing in mind the chords needs to harmonise the tune.
    Eg I've also seen rockinrob's cycle of 5ths one:

    |Dm7 / G7 / |Cm7 / F9 / |Bm7b5 / / / |E7#9 / / / |

    And rudi's is cool. which translates to this key like so:

    |Dm7 / Em7 / |Fmaj7 / F#dim7 / |E7 / F7 |E7 / Bb7(#11) / |
    (rising bass line in place of the usual descending one)


    The beginning of the 4th line (bars (13-14) also vary:

    |Cmaj7 / Am7 / |Fmaj7 / E7 / |
    or
    |Cmaj7 / Fmaj7 / |Bm7b5 / E7 / |
    or
    |Cmaj7 / F7 / |Bm7b5 / E7 / |
    or
    |Cmaj7 / Am7 / |Bm7 / Bb7#11 / |
     
  8. 57tele

    57tele Member

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    Yeah, that opening Am6 Bm6 is one of my favorite sounds ever (the "Bm6" is really just E9 with B in the root).
     

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