January 2013 - You'd Be So Nice to Come Home To

**JazzReggie** · 01-06-2013, 02:56 PM

Well, it seems like our thread for "You'd Be So Nice to Come Home To" got lost in the shuffle to the new forum and isn't likley to be coming back. It'd be a shame for us to give up on this after we just got the practical standards group going again, so I'm going to try revive what I can remember. If I've missed anything or made any mistakes, please do post updates.

wizard3739 contributed his own arrangement of the tune in C minor with a 4 bar intro, 3 choruses, and a tag ending, along with a couple backing tracks using Band in a Box RealTracks:

Lead sheet - C minor
Backing track - C minor, ballad
Backing track - C minor, Bill Evans style

Here are some more takes on it that I really liked:

**Liarspoker** · 01-06-2013, 05:31 PM

Thanks JazzReggie: I started a chord melody arrangement for this song but unfortunately I have been side tracked by learning another Practical Standard song CM style.

I'll try to record this one with a bit of comping and my wife singing and will post before the end of the month.

**wizard3739** · 01-06-2013, 11:14 PM

Thank you, JazzReggie, for putting the thread back together. Good job!!!

wiz

**clebergf** · 01-07-2013, 01:26 PM

Is it open for everyone?

I think I'll try record something on this.
I don't know this song, so it'll be a nice challenge.

**kris** · 01-20-2013, 05:27 AM

Guitarists where are you?....:-)

**JazzReggie** · 01-20-2013, 02:50 PM

Originally Posted by kris

Guitarists where are you?....:-)

I've been practising this tune a lot, but it's still very much a work in progress. I'm still building up an initial jazz repertoire and each tune is slow going for now. Also, since I'm making this a repertoire tune, I'm not just treating it as a backing track to improvise over. I'm also comping over it, memorizing the melody, analyzing the changes, incorporating the work I'm doing with the "Introduction to Jazz Guitar Soloing" book / study group over it, etc.

I do plan to record something, but it'll take me longer than many of you. Hopefully I'll have a recording before the end of the month, but I'm more focused on really learning the tune than hitting any sort of deadline.

**oilywrag** · 01-22-2013, 10:40 AM

Well we have done Blue Bossa before, it was one of the first tunes the group played. To throw the thread sideways a little, I have noticed that the educational side of the thread has been neglected. I know Reg( thanks for the work you put in)has been busy.But no one else seems to want to try and explain how they get around some of the tunes that have been played..After all that was the reason the thread was first started. Also you have an open poll so all can vote, not just guys that want to post tunes. There have been times when certain tunes have been very popular vote wise and next to no one has posted any playing. Guess guys just like collecting backing tracks..

Tom...

**markf** · 01-30-2013, 02:32 PM

.But no one else seems to want to try and explain how they get around some of the tunes that have been played..After all that was the reason the thread was first started

You're right about this.

I posted a few times, and I attempted to make some kind of explanation of what I was trying to do.

It's a good thread, but it tends to be another kind of showcase.

I don't think it helps that when single player posts multiple takes of the same tune.

It worth keeping going, I think if someone is willing to do the work.

**oilywrag** · 01-30-2013, 03:13 PM

Mark, it's a great thread. I know you can't force people to post their playing, and talk about what they have done. Quite a few players round here are very good at talking theory etc, it might be nice if they would drop into this thread once in a while.

Tom...

**Reg** · 01-31-2013, 11:14 AM

Hey Tom and Mark...

I'll make a video later today... with a few different analysis of tune while playing examples of how one might approach playing from using those analysis. Reg

**Reg** · 02-01-2013, 03:04 AM

A little late...

So here 's a quick playing analysis of You'd be so nice....

Typical Cole Porter tune... use of relative maj and min and deceptive use of those relationships.

I think and hear the tune basically in A- and C maj. Either relative maj of min or min of maj.

So A- or I- with II- V's of for the 1st 4 bars.

Bars 5 and 6 are II V of bars 7 and 8 or...Fmaj. I hear F as the IV of relative C. So I would shift the tonal center to C, I usually hear a blue version of C.

Bars 9,10 ad 11 are II V of A-... either VI- or I- depending how you want to approach the F#-7b5 to B7. Pretty common for #IV -7b5 to be related II- of V/III, with B-7b5 being the related II- of E7 or V7 of A-.

So... F#-7b5 B7 is II- V of E7. And the relative II- or B-7b5 is put in front of the E7... which becomes The II- V of A-.

The E7 is the Pivot chord between Cmaj and Amin.

The next time through the 1st 8 bars are the same, bars 9-12 are again creating the two tonal centers... C and A-. Bars 13 and 14 again imply the C tonal center,(bar 15) with blue melody note Eb...with bar 16 being the II V back to the relative Min... A-.

Don't get to hung up with locking into one set of notes... A aeolian and A harmonic min or respective chord tones from chords derived from that one harmonic scheme. More possibilities with creating relationships from different tonal centers... somewhat micro analysis within the larger macro analysis.

Anyway... the vids not that organized... but if anything sounds interesting or you would like me to verbally clean up the analysis... please ask. I didn't play through the tune... it would just get boring...
Reg

**cpike** · 02-01-2013, 02:13 PM

Thanks Reg!

**GuyBoden** · 02-01-2013, 02:35 PM

Great stuff Reg, thanks for taking the time to explain your approach.

If I can ask a question, how are you approaching the turn around.

Thanks again.
Guy

**Reg** · 02-01-2013, 09:29 PM

Hey Guy...
If you mean the last 4 bars...I usually would start with D7 being the V of G7 which is the V of C... then II-V of A-.

I know the A- and Cmaj are relative maj and min of each other... But I generally always hear the tune in C... even though most of the tune hangs in A-, I hear that A- with a reference to "C"...and usually a blues influenced version of. Anyway the Ab7 following the D7 is typical sub V and I usually use D- in front of the G7.(instead of some version of D7)

So...D7#9 Ab13 / D-9 G7b13 / C6/9 F13 / B-7b5 E7#9 /

I throw in the F13 after the C6/9 to help reinforce... the blue approach. Which helps keep C as the main Tonal center with typical blues harmonic approaches. 6/9 chords always give room for more relationships.

My soloing approach is same as my harmonic approach... I just use melodic ideas instead of changes.
Reg

**wizard3739** · 02-02-2013, 02:37 AM

great analysis , Reg. This is good and practical info! thank you very much!

wiz

**markf** · 02-02-2013, 03:38 PM

thanks

the comping and rhythm style is outstanding reg. hard to teach that.

**=DK=** · 02-06-2013, 01:32 AM

Originally Posted by markf

thanks

the comping and rhythm style is outstanding reg. hard to teach that.

Agreed. They say "Great improvisers are made, great accompanists are born".

**pkirk** · 02-17-2013, 03:55 PM

Nice, the "practical standards" threads are a great idea, I didn't know about until now. I've been listening to this one and the summertime one and enjoyed and learned a lot from everybody's takes.

I'll try to get one together for "come rain or shine", but in the meantime here is an old (1998) take of mine on "you'd be so nice" with a great piano player I had no business playing with....

SoundClick artist: Paul Kirk - page with MP3 music downloads