To conceptualize this piece, try thinking of comparable works. Keeping with the “key” of C#m, a good example is “Equinox” by John Coltrane, a minor blues. Or, if you prefer more of a 1-6-2-5 progression, Stevie Wonder's “Isn't She Lovely” is also excellent. The way I have chosen to interpret this song is loosely based in the “gypsy jazz” style that came out of Europe in the early-mid 20th century. One of the classics from this genre is “Minor Swing”, by the great Django Reinhardt and Stéphane Grappelli. The guitar can be used heavily for carrying the rhythm, such that additional percussion is not necessary. However, we have tried adding a drum kit into the mix, which I think fits quite nicely, and gives it a more open, flowing feel, while still keeping a swing beat. However, it should be noted that something which may be seen as unconventional, and can serve as a test of theory in this piece, is the section in ¾ time. Because the tempo does not change, though, this section can fit in without any problems.
The transcription featured here is not entirely accurate. The first two lines are repeated before playing the ¾ section, and then they are played once more after the ¾ section, before heading back to the top. Again, the tempo does not change, only the meter does.
A C#m or C#m7 chord occupies the first two measures, as an F# or F#7 does the next two. This then changes to an F#m or F#m7 chord for one measure, then a split measure of Bm(7) to B(7), which the bass may substitute with a chromatic approach for returning to the C#m(7) chord for two more measures. The melody utilizes repetition. In the Bm(7) to B(7) measure, following the F#(7), the melody can either be played as written OR an octave lower. This can be determined by the range of the instrument; for example, a standard violin can not play all of those notes an octave lower than written. Liberties can be taken with the phrasing, as well.
To deal with the ¾ section, the Bm chord was chosen specifically as a Bm6 chord, and the melody notes were chosen to go along with it. Next, and E, or E7 or E9, as it is written here, followed by an A or Amaj7, make the three measures a type of 2-5-1 progression, which then goes up to a C or Cmaj7 chord. The Bm(6) and E(9) repeat, and the melody modulates down a half step for the Eb(9) and D(9) chords that follow, before jumping back into the 4/4.
For solos, the entire form can be used, or just the 4/4, or even a minor blues form, if you really want. The song is quite flexible.
Intro? Try fading in, in some sense, coming up to speed and volume, and adding additional instruments gradually.
To end: tremolo on a C#m chord, or some variation thereof. I like using a C#7#9, which sets us up nicely for the next tune.
Here is a video: http://www.youtube.com/watch?v=R-SKXuoosVA
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