I Didn’t Know What Time It Was
Playing Approach #1 Bars A:1-4: Paraphrase with Melodic Minor
Paraphrase the melody and add in the sharp 4 (C# in G major ) and sharp 5 (D# in G major ). These function as the major 6 and the major 7 of the relative minor (E) and suggest usage of the melodic minor scale of the relative minor ( E,F#,G,A,B,C#,D#,E). Positioning of the sharp 5 (D#) and sharp 4 are important (C#). For starters paraphrase the melody adding the chromatic descent sharp 5, 5, sharp 4(D#-D-C#) as a tag starting on the second half of bars 1 and moving into bars 2. Paraphprase the melody in bars 3 and 4 just tagging with a sharp 4 (C#) at the end.
Playing Approach #2 Bars A:1-4: Paraphrase with Melodic Minor
This is a good place to just explore the melodic minor scale (E,F#,G,A,B,C#,D#,E) with particular emphasis on the sharp 4 (C#) and the sharp 5 (D#). Target the sharp 4 ( C# ) at the tail end of bar 4.
Playing Approach #2 Bars A:1-4: Paraphrase with Blues Scale
The blues scale based on the relative minor sounds really cool here when mixed in with melodic paraphrase or just played on its own. E is the relative minor of G.
Playing Approach #3 Bars A:5-8: A Run of the Changes … perhaps?
Start with the 4 (C) if you ended up on the sharp 4 (C#) in bar 4 and then move into a paraphrase of the melody. Then jump up to the 6 (E) in bar 6 and arpeggiate down from the root of all those descending chords in bars 6 thru 8. Start by not doing full arpeggio on each chord step. But try to sustain whatever option chosen on the 6 minor ( E minor ) chord.
First 3 sections are 8 bars long. A3 is 12 bars long.
Typical Key: G major/Eminor
Mostly stays in relative minor with a few brief modulations to tonic major and ends on tonic major. Uses some unconventional cadences in the A sections and bridge involving descending diatonic or chromatic chord progressions.
A1 and A2