come rain or come shine

[Sailor]

I'm posting my lead sheet version of Come Rain or Come Shine; I'm confused by the changes and some odd sounding measures. Starts out straight forward blues but then, I don't get it all.

FM7 / Em7b5 A7 / Dm / Dm / G9 / C13 / FM7 / Cm7 F7b9 / Bbm7 C7b9 /

Fm / Bbm7 Abm7 / Gm11 C13 / Bm7b5 E7 / Am7b5 D7 / G7#5 C9 F9 Bb13 /

(I don't like that last measure) Gm7 C7 / FM7 / Em7b5 A7 / Dm / Dm /

F#m11 / B13 / Em11 / A7 / Am11 / D7 / Dm / G7 / Dm Bdim7 / Em7b5 A7b9 /

Dm Ab13 / Gm11 C13 / ...

Sounds pretty good actually, maybe I'm getting better. I would still like a little analysis and some soloing advice.

Thanks Sailor

[JohnW400]

I don't think that measure is correct. I have Dmi7b5- G7 then Cmi-F7 then Ami7b5-D7, Gmi7- C7 for the last 4 measures before it repeats. In another book I show Fmi7-Bb7, Ebm7-Ab7, Ami7b5-D7, Gmi7-C7 for the last 4.

[Sailor]

Anyone want to give me an analysis of the last half of this song,(other than circle of fifths), and some solo ideas that don't fit into the bluesy beginning??


Sailor

[JohnW400]

From the F#mi to the end it's just ii-V's going backwards in the keys of E, D, then then back to F via D minor.

on the F#mi-B7 use any of the E major modes or F# melodic minor
on the Emi7- A7 it's D major or E melodic minor
on the Ami11-D7 , G major or A melodic minor

now on the i-vi-ii-v in Dmi, D minor fits (pure minor or harmonic) for most of it except for the B dim. I think that this chord should be B mi7b5 rather than full diminished. It makes more sense harmonically that way ,to me at least so I would say that for Dmi-Bmi7b5 use D dorian or D melodic minor and then D pure or harmonic minor for the Emi7b5 to A. The next bit of Dmi to Ab7, Think of Ab as a tritone sub for D so you can use modes from Eb melodic minor

[m78w]

A lot of guys play the first four bars like:

Fmaj7/Em7b5 A7b9/Dm7/D7b9

or

Fmaj7/Em7b5A7b9/Dm7/Am7b5D7b9/

Check out Ed Bickerts version of this tune, it's probably his best recorded solo and the band is so locked in the pocket its scary!

MW

[Sailor]

Thanks John and Matt - This is a great song but a little peculiar in it's harmony and melody. I appreciate the help analyzing it!

Is it jazz or blues or what??

Sailor

[JohnW400]

Well the opening isn't that strange. It's the same changes as "There'll never be another you". I'm sure there are dozens more that open with that pattern (F , Emi7b5-A7). I think "BLues for Alice" as well. (but I'm can't remember)

BB King and EC did this tune as a duo so I guess you could call it a blues. The B section gets bluesy. Actually you could play | D7,Emi7, | F dim7 D7/F# to | G7 Ami7 | Bb dim G7/B | for the 4 measures where you have Ami11, D , Dmi G. You get a nice bass part D,E,F,F#,G,A,Bb,B.

When I play that part I keep D in the melody and in the "Alto" voice play F#, G, G#, A on the D7 part and then still keeping the melody (soprano) as D the alto voice moves F, G G# A.

[Sailor]

Thanks again matt and john - I did hear the BB and clapton version first so it was very bluesy. I'll try some of your changes too. I guess I'd like to see Vanilla changes first as some of the chords are a little different than I usually play.

You're right about the beginning, there are dozens of songs that start like this, it's the modulations later on that through me.

Thanks Sailor

[ronjazz]

I recall tht Bickert uses a B7 in the 2nd half of the 1st bar, he said he took it from a Woody Herman chart.

[JohnW400]

Originally Posted by ronjazz

I recall tht Bickert uses a B7 in the 2nd half of the 1st bar, he said he took it from a Woody Herman chart.

I have a chart with that change as well. It may be one of those things that became a "standard sub"

Sounds great especially in a chord melody

Fma7 B7 Bbma7 (Emi7b5) Eb7 (A7) Dmi7

keeping the A melody note on top.

[randalljazz]

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