SUMMER SONG Music by Joe Satri Satriani came up with the tite of “Summer Song” before he'd actually written a sin- gle note for it. He took the concept of “summer song” and set out to create a tune that depicted the excitement of summer vacation where school is out, flowers are blooming, and people are having a blast. “Summer Song” was featured on a Sony Walkman com- mercial and showcases Joe's superior shredding throughout. Figure 1 - Introduction While Gtr. 1 churns out its chords and paim-muted open string iterations (Rhy. Fig. 41), Gtr. 2 engages in a melodic application of natural harmonics similar to what we encountered in "Hordes of Locusts” though yielding an entirely different result. Joe uses an echo effect (set at approximately 550ms) to generate some slapback echo repeats after he runs through each handful of harmonics. Fig. 1 SiebegeLHaELESEEL See Srey FEM BE DD] pens cute thre ee Ea Fens : Sez Ras) ts fae” tatre ‘Moderate | Rock J = 162 y Th a hn aera = ? Teese sees a IE = i f et = iB a. oe é 8 oi 6 a & eet cores tee eae Dadd4/A AS Dadd4/A AS === =—S) 8 —- = = =e 7 = z =a = 4 Copyright© 1992 strange Beauitul Muse (ASCAP) Intemational Copyright Secured All Fights Reserved 7 ‘Used by Permission(i. Rhy. ig. ht 3 es. i.e Ry Fa DIA AS NC. AS Figure 2 - Instrumental Verse Joe uses this song's introductory riff (Rhy. Fig. 1) as most of the accompaniment behind the wah-soaked melody played by Gtr. 2. Other chords like B5 and GS enter the picture in measures 13-14, creating a more elaborate harmonic structure which Satch ‘accentuates with his stinging melody. This section's sixteen-measure melody is rooted in ‘A Mixolydian (A~B-C?-D-E-F#-G) and is performed twice—one-octave higher with var- ied inflections the second time through (measures 17-32). The rapidly oscillating vibrato heard throughout is accomplished by quickly depressing and releasing the tailpiece of a Floyd Rose tremolo system with the pickhand each time “w/bar’ is indicated. DD) eevee: evieats Ge. 2 (hard) * dice eho tect 5Ry. FL End Rhy. * pig on aipice 2 AS Daddaa, AS eerie: ”(te. I: Ry Fig It me FO a. | = pastas ow ise Figure 3 - Instrumental Chorus In this instrumental chorus section, Satch basically blueses his brains out, stick- ing to lines which fluctuate between A minor pentatonic (A-C-D-E-G), A Dorian (A-B-C-D-E-F#-G), and A natural minor (A-B-C-D-E-F-G) scales. Notice how he cleverly punctuates each eight-measure phrase with a litle whammy bar wiggling (mea- sures 8 and 16). The last six measures are somewhat reminiscent of Jimi Hendrix's bend- ing break performed moments before his guitar solo in “Purple Haze” 75QD] sere covey Fig.3 Gir 2 (hard) te. ee Rhy. Fig 2,1 times Nc A New ‘8 Beers tint tee : = == = ad) fall, 7 wm ie . ees * 5 3 ® Gur 9 Ray Fg. 2 2s © Gs NC@ ) MNS POSES Pie et tt ch *Palbarop 76>A NAG) o A NCWG) NCG) o A NC. ES Ne.Figure 4 - Guitar Solo Joe makes a dramatic key change for this guitar solo section, opting for a G minor tonality between measures 1-16. For the most part, G Dorian (G-A-B>-C-D-E-F) is Satriani’s scale of choice over this key center, though some of the solo’s earliest moments lean towards G minor pentatonic (G-B-C-D-F). Between measures 9-16, Joe whips out a barrage of blistering picked and pulled- off notes which echoes a passage we perused back in the “Crushing Day" solo (see mea- sures 37-44 of said song), cramming in chromatic passing tones between G Dorian pitches along the third string (measures 9-12) and within the parameters of G minor pen- tatonic (measures 13-15). Another key change takes place for the last sixteen measures of this solo section—this time to F# minor. After four measures of tweaking his tremolo bar, Joe plas- ters the atmosphere with a pair of pentatonic passages—Ft minor pentatonic (FE-A-B-C+E) between measures 21-22 and A minor pentatonic (A~C-D-E-G) between measures 23-24, Gar. 2 then breaks into a boogie pattern, implying the modality of D Mixolydian (0-E-F#-G-A-B-C) with its alternation between D5, 06, and D7 chords (measures 25-28). While this happens, Gtr. 1 launches into a descending eighth-note lick similar to a soaring passage from the "Satch Boogie” solo (see measures 17-20 of said song). The accompaniment pattern of Gtr. 1 moves up one whole step to imply the modality of E Mixolydian (E-Ft-Gt~A-B-Ci-D). These ES, E6, and E7 chords, coax Satriani into climb- ing up the second string in a chromatic fashion (measures 29-30), moving up the fret board in suecessive half steps—one fret at a time. To bring this solo to a dramatic close, Joe takes the chromatic approach once again—this time playing the previous chromatic line one octave higher along the first string (measures 31-32), Fig. 4 © Guitar Soto [53] G G5G Bb G Bb CS cecscr oc QS 228 g My re zal a mn ivi TILT) 74 Fo wise Featured Guta: Gir. 1 (ard A) Gu 2 ard L) Siow Demo: Git. 2 (center crc ocr BG © ®@® Bad iy. Fie 3 bithy pee pM. eM = = 7813ma oc 150 000 Fao ce i,t Rhy Fig. 4 1s. 2 mss. 7 Fas 2 ileus ea . ; =e : | 79Gu. Ray. Fie a Ps D6 DS DT DS D6 DDT B Ds Dr