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It seems obvious "Summertime" will be the winner of the Poll for July. For those of you who want to get an early start, here is a BIAB "realtrack" backing track for the song.
Summertime backing track--->https://www.box.com/s/5090cb58f594abbe0baf
PDF File---->https://www.box.com/s/8e79011bd4e2f2719cb2
have fun with it!
wiz
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06-29-2012 03:55 PM
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This is my take on Summertime. The group I play with (Starlight) plays this tune a lot as a very slow blues, but I tried to treat is as a pensive ballad and messed around with the melody in a minor sense. I really am a little tired of this one so it probably is not my best version. Shame on me!!
Box
wiz
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Thanks for posting that track! Really great, and I really enjoyed playing over it
Let me know what you think
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Wiz, I enjoyed your version very much....your playing is always smooth and melodic, with great tone!
Djl...really clean tone and nice runs and lines
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thank you Kris and Tityfamily for the nice compliments. If I have time, I am going to try to do another version just for fun.
Wiz
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dj1.....good job! very clean recording, good tone and some good improv lines.
wiz
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Summertime is one of my favourite pieces, and I am looking forward to working on it.
Last edited by MPDmike; 06-30-2012 at 06:03 PM.
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been playing this for years...
many versions......6/8.......Paul Desmond played it in 5/4....
Am or Dm?.....
Am
|////|////|////|////|
Dm Dm Em7 A7+5
|////|////|////|////|
try that in a few other keys....
time on the instrument....pierre
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As is my habit, I haven't yet listened to everyone's take as I like to take a swing at it before I get influenced. Just trying to come up with my own thing.
Now I'll start listening to the other versions.
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I like your head, that 9 and the blues notes are real cool. Lots of nice lines, I keep stopping the recording and playing your licks on my guitar. Cool.
Originally Posted by wizard3739
Great tone as usual, I dig the reverb, just right.
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Wow Fep....very tasteful and well done. I really like you demo videos and your style of play.
Originally Posted by fep
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wow! Really nice, Frank! As usual, a great tone, laid back with good lines and a very nice arrangement. I especially liked your choice of chord voicings. Originally Posted by fep
wiz
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First attempt for the Standards Group:
I wish I could do the single line improv stuff like you guys, this one is entirely arranged. It's in Eb which allows a not-very-subtle tritone sub for the V chord (cowboy E7 followed by 7th position E13). I have it in at least one other key but not quite ready to record, meanwhile I'd be interested to hear any comments on this one.
Cheers
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Nice sounding arrange and very good acoustic sound. Originally Posted by Mike Floorstand
Good time.
Now you have to try improvise over chords you play.
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Hey, thanks, Rich. After hearing all your jazzy takes, I realize I need to loosen up and just try improvising some melodic stuff over the tracks. The chord melody approach comes naturally to me, coming from classical, but I think its holding me back as a real jazz player - get too caught up in the arranging/memorizing aspect. Need to break free.... Originally Posted by Rich Cochrane
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Hello Everyone!
I'm adding my approach to Summertime.Njoy!
wizard3739 , I like Your high position outside lines.
tytlfamily, You sound is like fits backtrack.I'm not taking about mixing.
btw.Many of Us backs to this minor pentatonic sound/shape
but this makes us nostalgia i think.
I'm going to check the rest.
https://www.box.com/s/5dcc9e5bd59997afe69a
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Nice job, Setpatch! I enjoyed listening to your version and noticed your time is very good and you con go "outside" and come back in with confidence. Welcome to the practical standards group.
wiz
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I think We can add this duo to close a thread:
Pat Metheny with John Scofield:
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what other scales can I play over summertime in Dm ?
I have been using D pentatonic minor over the whole thing...it get boring.. any sugestion?
gide me thru this one please..
thanks .
hudson
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My suggestions:
- Chord tones
- melodic minor in bars 7 and 8
- harmonic minor in bars 7 and 8 and 14
- D melodic minor in bars 1-3 and 9-11 and D Altered in bar 4 and 16
Also if you want to stick with pentatonics, you can use Em and Am pent over the Dm7s and the Am pent works over the Gm7 too.
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On the Dm you can use a Dm7 arpeggio, or superimpose an Am7 or an Em7 arpeggio. You can also use those pentatonic scales as well.
The various Dm scales are worth exploring as well. i.e. D melodic minor and D harmonic minor. Then there's the D natural minor which is the same scale as F major scale.
The Gm is best seen as a Gm7. So Gm pentatonic, or Gm7 arpeggio. Think F major scale. Also try superimposing Am or Dm arpeggios or pentatonic scales over the top.
For the turnaround at bar 7-8. Em7b5 to A7b9. Use D harmonic minor or Bb melodic minor. If you're not used to finding the color notes in these scales you may think these scales stink. Try superimposing a Gm6 arpeggio over the Em7b5 and a Bbm6 over the A7b9. The best way is to play a short phrase on the Gm6 arp and then slide it up 3 frets and repeat it on the Bbm6. With a little practice you'll discover how cool this sounds.
I hope this helps,
Mark
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insert some chromatic notes here and there...
and spice up the rhythmic variation...
time on the instrument...
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A good way to add chromaticism is to take any of those arpeggios or pentatonic scales I mentioned in my last post and slide them up one fret. So for Dm pentatonic, play a phrase, then slide up a fret to Eb minor pent, repeat the phrase and then slide back to Dm to resolve the phrase. You can also do this with the Am or Em superimpositions I mentioned over Dm as well. This way you can play all these chords over Dm7. Dm7, Ebm7, Em7, Fm7, Am7, and Bbm7. Is that enough color for you? Originally Posted by pierre richard
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Here's some basic changes that work:
||: Dm/maj7 | Eb9#11 | Dm/maj7| Am7b5 D7#9 | Gm7 | Fm7 Bb9 | E7#9 | A7#5 | Dm/maj7 Bm7b5 | Bb13 A7#5| Ab13 |
| Gm7 C7b9 | Fmaj7 Ab13 | G13 A7#5 | Dm/maj7 | Eb9#11 | Dm/maj7 | Eb9#11 :||
Most of these chords will lend themselves to a nice workout with modal applications for "Jazz" Melodic Minor scales.
For example, use D melodic minor for Dm, then play Bb melodic minor for Eb9#11, and so on. If you don't get it, I can tell you more if you like.
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Been working on this one. Found myself quoting "Wives and Lovers" in the solo. Seems to fit. Anyone else worked that into the tune?
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A good model for that tune is Wes Montgomery's
'Four on Six", which is Summertime with some substitute changes used.
Copy Wes' solo, or look for transcriptions.
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Try D Dorian or D melodic minor the ma6 sounds nice. A lot of the lead sheets have really basic change like four bar of dmi so add some movement with a Emi7b5 A7 alt on second bar of Dmi that gives you more possible scales to use.
When in situation where you're bored sing a solo then transcribe what you sang. That's a problem people have on all instruments is they keep falling back to what's familiar or limitations of current skill level. When you sing you eliminate the limitations and finger going for familiar patterns.
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one version I play Cm...Cm/Bb...Bb...A7b5...from angel eyes...
slow blues...one beat per chord...ala Burrell...
one version I play Am...Bm...C...Bm...two beats per chord...moderately up...from Burrell/Grover Washington...
time on the instrument...
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You guys are just spectacular. I am so glad I found this site. I am learning so much . Thanks !
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Please do. Originally Posted by Steve Montgomery
Melodic minor is: 1 2 ♭3 4 5 6 7 8
D melodic minor is D E F G A B C# (almost Dorian except for C#)
Eb9#11 is Eb G Bb Db F A (so hmmm G, Db, F and A are common noted with D melodic minor).
Bb melodic minor is Bb C Db Eb F G A (so OK all the notes of Eb9#11 are covered)
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have a listen to the
summertime on the Miles Porgy and Bess
album
Gil Evans arrangement is sublime
also Miles is fabulous on this
theres a youtube of jim mullen
playing summertime where he's
quoting Gill's horn parts
(to my ears anyway)
its a nice approach
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Two things: First, you're not gonna want to hear this, but playing scales over chord changes is the best way to sound like a beginner. Think about this idea ... decide what chord structure you want to use, and list all the notes in all the chords, measure by measure (for now). Also list all the melody notes for each measure. No need to organize these notes into scales; you're just concerned with the notes. These are good notes to start using, along with notes a half-step away from any of them that sound natural to play as you approach any of the notes. This doesn't cover everything, but you'll be able to make interesting melodies that fit the song. Chordal tones + melody notes (which will be chordal tones, anyway).
Second, dig up Wes Montgomery's "Four On Six". Learn as many of his lines as you can and transpose them to your "Summertime" key. Most all of them will work over "Summertime" ... very similar changes. And the 4 on 6 changes suggest some cool "outside" ideas for "Summertime".
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Thank you so much for ratifying the little insight I had the other day! You never know when it'll come to you, as I was stepping out of the restroom it "hit me." :-) Learn the chord progressions really well and then project those images onto the fingerboard and then think in terms of argeggios & lyricism.
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"as I was stepping out of the rest room" Originally Posted by jazzfreak
Some guys do their best thinking once their dick is no longer in their hands!
Are you currently working with an experienced jazz guitar instructor? This revelation you had while you were peeing is very basic fundamental jazz improv stuff. I don't say this in an insulting or demeaning way. It's just that if you have access to a good teacher, it'll help you around some of the frustration noted in your OP about getting bored with just playing scales. Even if it's for only 3 or 4 lessons . . it'll work wonders.
Also, don't become too reliant upon only arps for your lyricism. That too will start to sound amateurish after a while . . . unless of course you become as brilliant at creating with arps as Wes was. ;-) As you're working with the arps . . look for the tensions as well. Then, search for your own way and desired lyricism in resolving them back to the arp tones. Create you lyricism using the full spectrum of scales, arps and tensions and chromatics.
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Like scales, arpeggios are just shelves to store notes. That they outline chords makes them more useful than scales, but we really ultimately want to "sing" through the guitar. Sing a solo phrase ... play it. As you work on chords and start to understand every possible note that could be in a given chord at a given point in the harmonic structure, you are simultaneously grasping most of the notes that will make up creative and lyrical melodies, which are the main ingredients of a good solo. Originally Posted by jazzfreak
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Thanks, Super. I can tell you're a great teacher. Wonderful feedback.
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Well, summertime is dying now, so...
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Summertime ain't what it used to be, yet the song remains...
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