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Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
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Jazz & More Guitar Lessons: “Summertime”

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Tune-Based Instruction
"Summertime" Part 2.
So let's start with the standard
chord progression for this song.
You know, the regular chords.
We start this with one, two, three, four.
One bar of D minor or we could say D minor
six if you wanna color it a little bit.
One, two, three, four.
E minor seven flat five, half a bar.
Half a bar of A seven.
So one.
One, two, three, four.
One, two, three, four.
Back to E minor six.
And then D seven for one bar.
One bar, again, of, of D minor.
And then one bar of D7.
If you wanna play A minor 7 flat 5,
D7, that's possible too.
I mean, you can also do an inversion of,
of D minor.
Like, one two two.
One, two, three, four.
So half a bar with D minor 6.
And then half a bar of B minor 7 flat 5.
That's an inversion of D minor 6.
So you get.
That's kind of, of a baseline.
So one more time.
If you want to play the A minor 7 flat,
A minor 7 flat 5 D7 here.
G minor, 7, C7.
Half a bar each.
Same thing.
I like to do this.
This might not be part of the original.
But I like to do
G minor, C7.
Half a bar of F minor,
half a bar of B flat 7.
Then back to E minor 7, flat 5, A7.
And we're starting over,
doing that turnaround.
Here, you can do G minor 7, C7.
Or half a bar each,
one more time.
Then, half a bar of F major,
E flat major 7.
So, F major 7.
B flat, major 7.
Then E minor 7, flat 5.
Or, you can play a A7 alternate.
A7 sharp 5 if you want, if you want to.
And then, and then back so, so.
Back to D minor 6.
Or if you want to do a turnaround.
So this is what it sounds like,
like one chorus of the original chorus.
So, I like to do chord melody arrangement,
you know, kind of differently, each time.
Sometimes, I do them.
Sometimes I do them, like, in a tempo.
Sometimes, I kind of try
to do a walking bass combined with chords,
and, and melody.
But, what I like the most is to do
like this, like play totally roboto.
And it means that you can stretch
out the bars for a longer,
actually, as long as you like.
And kind of make a free
interpretation of the melody.
So, I started here.
And this is a really cool trick.
You will have a lot of use for it when
you're making chord melody arrangement.
If you know that this is the first chord,
you know?
It's D minor 6.
And, you know, that the top note is A.
Then, you can actually replace that D
minor 6 with any other chord that you
think sounds good.
If you have some kind of direction.
So, for instance, any other chord.
If I wanna go to D minor 6.
I could start by,
I could start with a, like a B7.
With an A on top 'cause is like the 7th.
And then I have this direction,
I know from B to C.
To C sharp, to D.
So, I could do, like
and then change the chord a little bit.
So some of the lower voices and
the middle voices are following, as well.
So, maybe like a
And then a C sharp 7, sharp 5.
And then, we're here,
at the original chord.
And then we can actually continue.
Why not do a F4, E flat.
Or, you know, you can go from
the other direction, as well.
You don't have to start this here.
You could start, like
Do some kind of, you know?
You can li- some chords, like,
slightly different if you wanted.
You can do an F, over a B.
you can add some variation for
the chord types, if you're using.
As long as you have a direction, and
know where you're starting and
where you're going.
So that's what I did here.
Like going from D to B at the first,
you know, stop.
Then I know the next chord is E and A.
So then, I approach E here and
I changed, minor 7 flat 5 into
a 7 charged 9 chord just
to have a different flavor.
But like,
my bass line was going like this.
Going from E to A.
And then,
the second part of the song I started out.
I know I had that A as the melody note.
So I started with an F triad,
with the A on top.
Then, changing the bass note to E.
Then changing the bass note to E flat.
And then, D.
But I didn't play a chord for each.
You can do.
But I, I kind of did a.
Only review.
And I was descending the bass line.
And added chords where I felt
it was rhythmically interesting.
Doing stuff like this.
So, once again,
you can start on, on any chord.
And you can make each bar longer.
So, you can do like,
You can continue even further down,
A flat, with an F on top here
like A flat 13, or flat 9.
E7, F sharp 7, sharp five.
F major 7 and so on.
E11 E Flat 7.
[SOUND] sharp 11.
D7 sus, 4.
D sharp 7 sharp, 9 sharp 5, you know?
So you can kind of go on as long as you'd
like to and as long as it's musical.
And, it keeps on kind of,
you know, momentum and
have interesting things going.
So, that's what I did here
at the beginning, replacing.
Knowing the original chord, but
also, you know, knowing the top note.
Knowing that I can replace the root and,
and the chord type.
As long as I'm keeping that melody note,
and as long as I have direction.
'Cause if you're skipping between chords
Like that without having any
On that same top note.
But no chromatic connection
between the baseline and
the chord voicing,
then it doesn't sound as good.
So remember to have a thought
to know where to start and
know where to end each segment.
And then you can be really free and,
and replace the A chord types
And here, I did the same thing.
Instead of just using the D minor here.
I thought, well, the D's on top, so
I can do E Flat 9, keeping that D.
And then, I have a,
an A as the melody note.
Why not using that A7th or B7.
And then an A minor triad with A on top.
A minor 3rd.
And then I can have this
chromatic idea going.
'Cause it always sounds good.
And I'm continuing that chromatic idea as
I explained in the previous
breakdown from C,
C sharp, to D up to the next chord.
And here, instead of just
playing G minor C7 I was doing,
approaching chromatically
with a D flat 7 to the C,
and then F minor, minor 7 and
approaching the B flat 7.
Chromatic 7th chord.
A half a step up.
B7, or 11 so.
instead of just going
I did.
It's pretty cool.
And here, once again.
Instead of just ending on E minor 7 flat
5, A7, I replaced the chord.
I know I was going to end on A so
I thought I might start up here instead.
Using a different chord.
A D flat, minor 9.
And it still has that note, E on top, so.
And C's keeping that same shape.
C9, B, the, and 9 sus,
B flat 7 sharp 11.
And then finally A.
So instead of just going.
I did.
I could have
continued further down, you know,
using those same ideas.
So, it's.
as you can see, there are so
many possibilities.
And I noticed, for this Andreas Oberg
Guitar Universal Contest, some of your own
chord melody arrangement, they have
included some of these ideas, you know?
With replacing the chords
with different chord types.
So, that's great.
And now you will understand even more,
I guess.
So, then I continue to do that,
what I just showed, a second time.
here I just replaced instead of using that
same thing, I thought I might go down.
So E flat 7 to C6th,
G as the bass note.
And then instead of using F major and
B flat.
I replaced F major with the A minor 7.
I start five and then I replace the, this.
'Cause instead of D and F, the top notes.
On a B flat major 7.
I used the same top notes.
They work for B7 sharp 9,
sharp 11 as well.
And instead of just ending, once again,
ending on the chord where everyone
thinks you are gonna end the root.
I decided to, I know the root is here, so
I know I can go from start somewhere else.
Maybe here, A flat 7 sharp 11, G7, F.
And now, you see, the voices are moving.
It's just the top note staying,
and the bass line is moving down.
And the the notes in the middle,
they're are moving down.
So, G7, F Sharp 7, Sharp 5.
F13, E7, Flat 7.
And then, I'm back down here at the root.
So that,
that's really cool istead of just ending
And then, the minor.
And also, to make a chord melody
arrangement, it's always nice to be able
to keep it interesting, it's always nice
to add some lines in between, you know,
the melody, and in between the chords.
So, for instance, you can do
Something like.
this is something I'd like to do, as well.
Find chromatic lines within the chord.
So I know I can start here,
on a chord tone A, 9.
And then, go chromatically, somewhere.
Maybe, even down to the root, if I like.
But in this case, I was only going
down to the E flat 7, to a C.
But, finding these movements
within the chords.
Stuff like that, that I really.
I really like it.
And it becomes a real
arrangements where harmonies and
voices within the harmonies are moving.
So, I think you have now understood
a little bit on how I'm thinking when
I'm making such an arrangement.
So you can go on your own and
make really nice chord
melody arrangements.
But, guitar is a great instrument.
You can play a melody base and
a, and chords at the same time.
So, you know, let's try it.
And, looking forward to hearing your own
versions of this song or other songs.
And if you wanna learn
this specific arrangement,
check out the first breakdown where
I'm teaching it note for note.
Thank you.