B minor is they key that Gershwin chose
For his sublime creation “Summetime.”
But for a previous singer the band chose
A full C minor chart; hardly a crime.
A half-step up makes little difference
To saxophones in their ideal range,
But for a vocalist, it explains whence
A lovely piece can end up sounding strange.
And so a song that sits high in the voice
Becomes unsingable when raised a jot
And so we get to make the lousy choice
To sing a seventh down or sing it not.
At least when I arrive at the reprise,
I’m free to sing whatever notes I please.