you'd be so nice to come home to

[lkbass22]

hi, I just started learning you'd be so nice to come home to and i'm having a little trouble understanding what is going on near the end:
d#dim / c/e / g#dim /


and also the

D7 Ab7/ D7 G7/

if someone could help me out with these parts i would be very grateful

thanks

[MalcolmAmos]

Originally Posted by lkbass22

hi, I just started learning you'd be so nice to come home to and i'm having a little trouble understanding what is going on near the end:
d#dim / c/e / g#dim / and also the D7 Ab7/ D7 G7/

I'm sure it's in 4/4 time. If so......
D#dim = R-b3-b5-b5 or R-b3-b5-b3 which ever you like.
C = R-3-5-3
E = R-3-5-3
G#dim = R-b3-b5 same situation for the last beat as with the D#dim chord.
D7 and Ab7 in the same measure you only have room for two tones for each chord your choice R-5 for both, I'd try R-b7 for both because of the dominant 7 and then chose one or the other. Same for the D7 and the G7 in the same measure.

Hope that helped.

Here is something to help with the intervals.
http://www.looknohands.com/chordhous.../index_rb.html

How about in Am. Still got those diminished chords.........
http://ralphpatt.com/VB/y12.html

Good luck.

[lkbass22]

sorry i wasn't that specific in my first part of what i didn't understand. What i'm having trouble with is understanding if in those parts if the key is changing? and what scale one might use for those sections as far as soloing goes. but thank you for the input

[MKoby]

I'm a littler slower.
It's in 4/4, key of C, with modulations to F, G, (A, )
C---> relative minor = A-


D7 Ab7|D7G7|
D7Ab7 looks like a tritone substitution
for this part
final 5 bars
|Am7|D7|G7|Cmaj7|Cmaj7||

going 2 bars key of G to final 3 bars in key of C

d#dim / c/e / g#dim / ???

next to last 4 bars B section??

. ................ D#dim. C.....G#dim
. ................|B7 | E-7 |E7 ......|A-7|
in key..of..... E ............. A........ G ...(the II of G) ??


Ralph Patt B section


|| Am | Bm7b5 E7 | Am | Am |

| Gm7 | C7 | F | F |

| Dm7 G7 | C | E7 | Am |

| C Ab7 | Ab7 G7 | C | C |


My (possibly faulty) analysis Key over chords

C................................................. ...................

|| Am | Bm7b5 E7 | Am | Am |


F................................................. ..................

| Gm7 | C7 | F | F |


C.................(A)...G
| Dm7 G7 | C | E7 | Am |


G(sidestep for D7.....C.......................................
......l
.....V
| C Ab7 | Ab7 G7 | C | C |

[Bootzilla]

Going out of the key for a few chords is changing the key.

[MalcolmAmos]

Originally Posted by Bootzilla

Going out of the key for a few chords is changing the key.

If you are speaking to the post I omitted, yes I know, got way over my head so I backed out.

[Pat C.]

Note: My theory is definitely a bit rusty and I'd be happy to be corrected if I'm way off here.

D7 Ab7/ D7 G7/

The Ab7 is a tritone substitution for the D7. They share common chord tones - the 3rd and 7th (F# and C) are enharmonic equivalents of the 7th and 3rd of the Ab7 chord.

d#dim / c/e / g#dim /

Just to clarify, is that d# diminished > c minor > e minor > g# diminished? Post back to confirm. And what chord does it lead to?

The d#dim wants to resolve to E. Also, d#dim is a sub for D7 since it share 3 chord tones (F#, A, C) plus, the root D# is the enharmonic equivalent of the b9 of a D7 chord. The g# dim wants to resolve to A minor, the relative minor of the main key center (C Major) which may be inferring a deceptive cadence of sorts.
-------------------------------------

Where is this exactly on the chart - right at the end? It is a bit different progression that I found elsewhere for this tune, for example, see here and here. Those changes look like this:

Fdim/C/G#7/G7/C (don't quote me on the rhythm)

Fdim (F-Ab-Cb-Ebb) resolves to C since it's the same chord (different inversion) as Bdim (B-D-F-Ab). G#7 (aka: Ab7) is a tritone sub for D7, which moves to G7 and resolves to C.

As far was what to play, your best bet is to outline the chord tones, they will voicelead nicely versus trying to blow changing diminished or mixolydian scales every measure or half measure.

--------------

[lkbass22]

Just to clarify, is that d# diminished > c minor > e minor > g# diminished? Post back to confirm. And what chord does it lead to?

sorry for being unclear but it's a c over e. and that section leads to a Amin7

the change i'm using are out of the real book so they might not be the way sinatra recorded it.

As far was what to play, your best bet is to outline the chord tones, they will voicelead nicely versus trying to blow changing diminished or mixolydian scales every measure or half measure.

yeah i realized while practicing today that's probably the best way to play this and to outline the ridiculous number of -ii7b5 -v7 that are in the tune.
thanks for the post it's a help

[Pat C.]

Originally Posted by lkbass22

sorry for being unclear but it's a c over e. and that section leads to a Amin7

Ah, I see the way you wrote that. It was pretty clear, I just didn't note the spacing closely. So it's a C Major chord, inverted with E on the bottom.

That progression seems to be moving towards A Minor (which is what I thought). The d# dim resolves most directly to E7 or E minor, but instead goes to the song's key center C with a root E (hey, close enough ) and then to a G# dim which resolves properly to A minor. The G# dim is a substitute for an E7 chord, they have common chord tones: G# - B - D. The "F" in the G#dim is the b9 of an E7 (E - G# - B - D - F) so you can see how interchangable the dominant (the V7 chord) and diminished (the vii dim) chords are, especially when resolving to a minor chord.

That cadence is most simply written as Bm7 - E7 - A min. It could also be subbed B7 - E7 - Am as well. Or how about Bm7 - Bb7 - A min7 (there's that tritone sub again). What you've got in your chart is a more harmonically complex chord substitution.

the change i'm using are out of the real book so they might not be the way sinatra recorded it.

Probably not. Each artist will arrange things a little differently and substitute slightly different changes, even on the fly.

I checked out my two versions of the real book and neither had this tune, but I've got old (illegal) copies so my books may not be the same as yours.

yeah i realized while practicing today that's probably the best way to play this and to outline the ridiculous number of -ii7b5 -v7 that are in the tune.
thanks for the post it's a help

No problem, have fun.