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en serrant
Does anyone know of an arrangement of Summertime suitable for Sax (tenor and alto), piano, drums and voice?

One of my pupils has asked me to find one for the band he's starting at school and I want to encourage him. I wish I'd had more opportunity to do that sort of thing when I was younger.

Any contributions gratefully recieved.
TSax
Start with something for piano and voice with the chord symbols - should be readily available. Then as a first step transpose it into a suitable key for the vocalist, then do the necessary transpositions of the tune for the saxes. The first arrangement could be something like 1 chorus piano alone as an intro, followed by the alto sax playing the tune, followed by vocalist, finishing with both saxes on the tune. Then make it more interesting by developing backing figures for the saxes - these should be based on the chords, rhythmic figures is the key, 3rds and 7ths work well. When the saxes have their turn with the tune encourage them to embellish it rhythmically and harmonically building up to fully improvised solos. For the drummer the key is probably to listen to different recordings and identify just what the drummers are doing and what he thinks works well, then reproduce it. I don't know much about drumming, but a hi-hat on 2 and 4 is always a good start for jazz.
en serrant
QUOTE(TSax @ Dec 30 2006, 08:24 PM) *

Start with something for piano and voice with the chord symbols - should be readily available. Then as a first step transpose it into a suitable key for the vocalist, then do the necessary transpositions of the tune for the saxes. The first arrangement could be something like 1 chorus piano alone as an intro, followed by the alto sax playing the tune, followed by vocalist, finishing with both saxes on the tune. Then make it more interesting by developing backing figures for the saxes - these should be based on the chords, rhythmic figures is the key, 3rds and 7ths work well. When the saxes have their turn with the tune encourage them to embellish it rhythmically and harmonically building up to fully improvised solos. For the drummer the key is probably to listen to different recordings and identify just what the drummers are doing and what he thinks works well, then reproduce it. I don't know much about drumming, but a hi-hat on 2 and 4 is always a good start for jazz.



Thankyou, TSax, you are wonderfull!!!
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