Jazz Changes

George Gershwin, music · DuBose Heyward, lyrics · From the 1935 opera Porgy and Bess

Summertime

Summertime is a slow lullaby from George Gershwin's 1935 opera Porgy and Bess, with words by DuBose Heyward. Players love it because it is only 16 bars long and moves through a few minor chords, which leaves room to change the feel, the key and the solos. You will hear it at jam sessions, on records by singers, jazz horn players and rock bands, and in many film scenes.

▶ Plays the whole path: 8 recordings in order. Use the player's next button to skip ahead.

  1. 1 Learn the song Louis Armstrong & Ella Fitzgerald
  2. 2 Hear it as a jazz tune Billie Holiday
  3. 3 Play it as a slow blues Sidney Bechet Quintet
  4. 4 Hear the bebop decoration Charlie Parker with Strings
  5. 5 Hear it arranged for orchestra Miles Davis with Gil Evans
  6. 6 Hear the long solo John Coltrane
  7. 7 Hear it outside jazz Big Brother & The Holding Company, Janis Joplin
  8. 8 Hear a modern take Greg Osby

How the tune works

A minorusual key
16 barsA · A² form
A m → C → A mkey centers

The tune runs 16 bars in two halves of eight. Both halves open the same way: an A minor chord, then a minor ii–V that comes back to A minor. The first half then moves to D minor and F7 before another ii–V returns to A minor. The second half swings briefly toward C major in bars 12 and 13, then closes with a ii–V back to A minor that leads into the next chorus.

One published harmonic analysis of the changes in A minor: 16 bars, four lines of four bars. The ii–V in each line is Bm7♭5 to E7.

Key A minor
Abars 1–8
A minorAm7
Bm7♭5E7♭13
Am7
Am7A7♭9
Dm7
F7
Bm7♭5
E7♭13
A²bars 9–16
Am7
Bm7♭5E7♭13
Am7
C majorD7G7
Cmaj7
A minorBm7♭5E7♭13
Am7
Bm7♭5E7♭13

Taken from one harmonic analysis, not a printed lead sheet. Fake-book charts differ in detail, so compare it with the chart you play from and with the recording.

Source: Learn Jazz Standards: Summertime Chords and Analysis

Listen in this order

Play all 8 on YouTube ↗

Eight versions, from the song sung straight to a modern jazz reworking. On the way you hear it swung, decorated, arranged for orchestra, stretched into a long solo and played by a rock band.

  1. Step 1 · Learn the song

    Louis Armstrong & Ella Fitzgerald 1957

    Porgy and Bess

    Listen for
    Follow the vocal through both eight-bar halves. The second half starts like the first and then turns to a different ending.
    Try this
    Sing the tune along with the track until you can start it on your own. Then play it on your instrument in the key that suits you.
  2. Step 2 · Hear it as a jazz tune

    Billie Holiday and Her Orchestra 1936

    Vocalion 3288

    Listen for
    How Holiday places the melody a little behind the beat while the rhythm section keeps steady time. Listen for the trumpet and clarinet answering her.
    Try this
    Play the melody twice. First exactly as written, then a hair late in each phrase, the way Holiday sings it.
  3. Step 3 · Play it as a slow blues

    Sidney Bechet Quintet 1939

    Blue Note 6

    G minor · 4/4 · two-beat · slow tempo

    Listen for
    The slow pace and how Bechet bends and holds notes like a singer, while the rhythm section lays down a plain pulse.
    Try this
    Play the melody at half your usual speed with slides into some notes. Keep the pulse even underneath.
  4. Step 4 · Hear the bebop decoration

    Charlie Parker with Strings 1949

    Charlie Parker with Strings

    Listen for
    How Parker moves around the written melody while the strings and rhythm section keep a slow background. Notice where he adds quick phrases.
    Try this
    Play the first eight bars as written. Then add one short, fast phrase between two melody phrases, using notes from the chord underneath.
  5. Step 5 · Hear it arranged for orchestra

    Miles Davis with Gil Evans and His Orchestra 1958

    Porgy and Bess

    Listen for
    How the orchestra's chords move under Davis's lines, and where the arrangement stays quiet to leave him room.
    Try this
    Loop the chords and play the melody in long notes with rests between them, letting the harmony fill the space.
  6. Step 6 · Hear the long solo

    John Coltrane 1960

    My Favorite Things

    Listen for
    How Coltrane's solo builds across repeats of the form, and how Tyner and Jones respond to him.
    Try this
    Loop the 16 bars. Play two choruses using only the A minor scale, then play two more that follow each chord change.
  7. Step 7 · Hear it outside jazz

    Big Brother & The Holding Company, Janis Joplin 1968

    Cheap Thrills

    Listen for
    How the two electric guitars take the place of the orchestra, and where Joplin pushes the vocal toward a shout.
    Try this
    Count the 16-bar form against the track. Then play the melody with a rock feel, with even eighth notes instead of swing.
  8. Step 8 · Hear a modern take

    Greg Osby 2003

    St. Louis Shoes

    Listen for
    How far the band moves from the tune you learned in steps 1 to 7, and whether you can still count the 16-bar form.
    Try this
    Pick one thing Osby changes, such as the sound, the rhythm or the chords. Make the same kind of change to your own version of the melody.

More great versions