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Summertime is an mazing tune. Over the years i played 5 or 6 different harmonies over it, and none of them pertains to thoses 25 of yours ! BTW great work as always. Many Thanks.
Delightful.. Thank you for posting. Music always helps lift me.. and seeing how a simple chord sequence can be turned into something wonderful by using some theory and knowledge of extensions, voice leading, etc. Mannnnn, I love Gershwin...
hmmmmmm I thought I really knew this one!!!!!!!!, Soooooooo glad I watched this..... Its the approach you take... that delivers the reharmonization options where its useful and for me your graphic visuals and sound discourse are the reason I like what you're doing brother!!!!!!
This is, in my opinion, the best tutorial on the concept of harmonization. Starting from a simple structure and building it up to a more complex form. It presents harmonization options and different textures or colors depending of our own preferences. As a part deux to this video, I hope you can find time to overlay the piano chords voicing as well. Thanks!
Thanks again Nick for taking your valuable time and energy to provide such a helpful learning tool for those of us who have chosen to grow as musicians. I am a slow learner, but with your help, I am indeed slowly learning.
Just wanted to thank, cause it's not possible to like again. Found this by accident today, started listening, was ready to press like after first two minutes or so just to realize I had already liked it before. :)
Thanks for all this, especially the Gerschwin version on the beginning (Cm6 to Dm6) which is a must in a small formation to produce the essence of the song (that southern moist and heavy heat). Just one thing: I play Cm6 to Cm7 before going into Fm7 in bar 4. Somehow the C7 is just too much information and I like to give some sort of "false" conclusion to the first mouvement before going into the rest of the song. But hey, as you said, many great ways to harmonize this fantastic song, and you covered most of them (I use the more bluesy/churchy colors to stay in the southern regions of the USA mood). I'm actually gonna try some of your stuff I'd overlooked. Thanks again !
Wow, Nick! Not sure how I missed this back in July. Was referenced to it while watching your Micheal Brecker maj3 over minor chord video and the Stevie Wonder whole tone video multiple times. Anyway, you have Wes Montgomery's photo on this video thumbnail. So my favorite Summertime contrafact is Four On Six. Thanks!!!!!!!!
Excelente. Can you explain the chord progression of the version from Olivier Franc at Jazz in Marciac 2009 with Wynton Marsalis?? This is one of the best versions ever.
Thank you for the brilliant video, as always Sir! It probably worth mentioning that this piece has a particular job in Porgy and Bess, which is to show that Summertime , usually viewed as a nice time, is also a time of relentless work under a relentless sun. Hence Gershwin's choice of the repetitive dark C-6 D-6 motif.
@jazz duets thank you so much for your work and insight. Is the F7 functioning as a secondary dominant? Particularly in bar 12?? It resolves to Ebmaj so I’m unsure what the function it is. Obviously you could throw a Bb afterwards.
Hi Nick, great Video! The only thing i don't unterstand is the ii v path Eb_7 Ab7 to D_7 at 8:18? the ii v for D(maj) should be E_7 A7 - so whats the musical theory behind the ii-v in this case? Thank you for your answer, Till
It's a chromatic ii V! It has an interesting sonority for being out of the key, but the 3rd and 7th movement to land in the next ii V is similar from the movement inside the ii V. To exemplify. Eb-7 has a Gb (3rd) and a Db (7th) walking into a Ab7 with a Gb (7th) and a C(3rd). Then you go from an Ab7 to D-7 where you'll have an F (3rd) and C (7th). So in every movement the third and the seventh from the chord you are in will move no more than a half step to find the seventh and the third from the next chord. Maybe someone can explain better than me, but I hear it that way! Hope it helps!
You should probably look at the Ab7 as a dominant of G7, and this makes a lot of sense - you just have the ii chord of each dominant added before it. So basically, it's just an Ab7-G7 (subV/V-V) with some more harmonic movement. Adding the ii chord before the dominant doesn't really change how it functions.
I’ve been pondering this for a while now and I think it makes sense because the voicings of the Eb and Ab chords. They descend neatly into the D-7 so you could think of this chromatically, as well as the notes compact into a tight almost crunchy bunch going into the Ab7 with the Ab and Gb adjacent which makes for a refreshing yet not too strong resolution to the D-7 where all of the notes are some 3rds apart. This is exemplified by the melody resolving to a D. Sometimes you need to take a step back in analyzing and look at chords as individual notes that lead you somewhere. Hope this helped. 8:16
Sure, there's some chromatic voice leading happening, but I would still suggest looking at the bigger picture and what functions the chords have. The Dm7 is actually an irrelevant chord - it's just a delayed resolution to G7. The Ab7 clearly wants to resolve to the G7 - it doesn't really resolve to the Dm7 chord. The chord progression is sub(ii-V)/V -> ii-V. The Ab7 is still functioning as the (substitute) dominant of G, but the resolution is delayed by adding the Dm7 chord between the Ab7 and G7. In jazz basically all dominant chords can be replaced with a ii-V. So the original progression is simply Ab7-G7-Cm, i.e. subV/V-V-i. But we can turn all V chords into ii-V progressions to create more harmonic movement. So the progression becomes Ebm7-Ab7-Dm7-G7-Cm. The Ab7-G7 resolution is still there, it's just delayed.
At 8:25, there's Eb-7 to Ab7, which is explained as the ii V, resolving to a D-7. Could someone teach me how the Ab7, which seems to be a bV7/ii, is resolved into the D-7 or the ii?
@@poderes Oh, yes, I see your point. Good questions, I can't believe I overlooked it. Ab7 is the flat V of D, that's the issue, right? Maybe the song is in the Locrian mode? I dunno...
