Summertime

Analysis of “Summertime” - Introduction

Summertime is a modal sort of tune in that it has chords that last two or more measures. It is composed of four-bar phrases that could be labeled ABAC.

Analysis of “Summertime” - The first A section

The progression in the 1st four measures is: /Dmi7 /Dmi7 /Dmi7 /Dmi7 //. In the key of D Minor, Dmi7 is the I chord and normally would call for an Aeolian (natural minor) scale which fits the key signature. However, since the chord lasts for four measures, the Dorian scale (C Major) is a good choice to get more of a “jazz” minor sound. The D Dorian scale includes all of the notes of a Dmi13 chord so using that scale will supply upper extensions of the harmony! But, since all notes are chord tones, there are no “wrong” notes to worry about as long as you play the correct scale!

Analysis of “Summertime” - The B section

The 2nd four measures move to the IV chord, a G mi7, and then to a II - V7 progression to return to the original minor key. The chord progression is: /Gmi7 /Gmi7 /EØ /A7b9 //. The Gmi7 should definitely be treated with a Dorian scale (F Major) to sound like it is in the right key. A G Natural Minor scale has an Eb which is not in the key signature for D Minor and would sound strange! The EØ - A7b9 progression may be bracketed with a D Harmonic Minor scale which prepares the return to the key of D Minor.

Analysis of “Summertime” - The second A section

The progression in these four measures is: /Dmi7 /Dmi7 /Dmi7 /Gmi7 C7 //. So the first three measures would again use the D Dorian scale. The last measure of this section is a II - V7 progression to move up to the relative major key, F Major. That II - V7 progression may be bracketed with an F Major scale which may continue into the first bar of the C section.

Analysis of “Summertime” - The C section

The last section begins in the the relative major key but quickly returns to the original minor key. The chord progession is: /Fma7 /EØ A7b9 /Dmi7 /A7b9 //. As before, use the D Harmonic minor scale in the second measure to resolve back to the relative minor, D Minor. Use Dorian on the D mi7 and, on the last measure (A7b9), use either D Harmonic Minor or A Super Locrian (Bb Melodic Minor).

Analysis of “Summertime” - A More complex treatment!

Up to this point, I have been recommending “bracketing” chords with a single scale as much as possible to simplify the process because there are less different scale colors to navigate. But, as you become confident improvising on the tune, you will probably want more variety in the sound! So then you may want to change the scale choice with each chord. Many of these choices are already made for you by the function of the chord, the key, and the context (preceding and following chords). Some of these choices are a matter of fact as is indicated below:

Dmi7 - Tonic chord, normally Natural Minor (Aeolian) but could be Dorian (C Major).

Gmi7 - IV in minor should be Dorian (F Major) to sound normal.
EØ  - the normal half-diminished scale is Locrian (F Major)
A7b9 - Should include alterations which predict the key signature of the Imi7 to follow. The two best choices are the 5th mode of Harmonic Minor (D Harmonic Minor) and A Super Locrian (Bb Melodic Minor).
Dmi7 - Dorian (C Major).
Gmi7 - Dorian (F Major).
C7 -  the largest variety of choices, any dominant 7th scale (except Minor Blues).
Fma7 - tonic function calls for F Major scale, F Lydian (C Major) could also be used.
EØ - the normal half-diminished scale is Locrian (F Major)
A7b9 - Should include alterations which predict the key signature of the Imi7 to follow. The two best choices are the 5th mode of Harmonic Minor (D Harmonic Minor) and A Super Locrian (Bb Melodic Minor).
Dmi7 - Dorian (C Major).
A7b9 - Should include alterations which predict the key signature of the Imi7 to follow. The two best choices are the 5th mode of Harmonic Minor (D Harmonic Minor) and A Super Locrian (Bb Melodic Minor).

When embarking on this more complex treatment, be sure to start at a slower tempo and try to emphasize the 3rds and 7ths of chords. These are the most important chord tones in any chord and bring out the quality of the chords (ma7, mi7, dom7,half-diminished, etc.). Listen to recordings by great artists, copy ideas that you like and incorporate them into your solo!


(Back to Analysis)