"YOU'D BE SO NICE TO COM

As recorded by Etude, solo study

Transcribed by Barry Wahrhaftig

Words an
Arranged
Performance Notes

This Cole Porter is a favorite of Gypsy Jazzers and straight-ahead players alike, and it can be a bit tricky.Hopefully this etude will help you
get a handle on the piece.
Going into this, it's good to know that most players use slightly different changes for the melody and for soloing, which I'll cover in a separate
file. For a piece like this, you should memorize the melody and the chords, and for the matter learn the lyrics too, it helps[!] I started the solo
with a typical bop style cadenza or break played aftier the melody going into the 1st chorus. It's most effective when the rhythm players just
play the 'C' chord on one, then lay out until the Ami at letter A, [ the usual deal]. It's really essential to work out a few of these breaks so that
you have a good start to set up your solo. I used here a break that I heard sax player Larry McKenna play on his CD 'Profile.' I also used
some of what I heard him do at the end of the chorus, on D7 and Dmi-G7, [I don't think, that he'll mind]! The cadenza outlines changes
leading to the V7 i cadence. I mixed some bop ideas with some chordal passages,
[this helps to give the solo balance and keeps it from getting too busy]. I used some 'call & response,' in bars 6 and 11, [Stephane Wrembel
would approve]! The 4 bar change-running phrase [bars 12-14], might be someting that Pat Martino or George Benson might do. Typical
use of enclosure end of bar 13, [ f-d-eb-e], leading to the 'E' natural target at the beginning of bar 14, the trill helps to emphasize the V of the
key. I tried to channel Wes with the chords and octave bit bar-16-18. Followed by typical 'Gypsy Dominant' chordal idea, either inversions of
E7 b9, or think F dim. inversions over E, [typical Djangoisim, of course]. Use of minor 6th cliche at bars 21-24, followed by a bop ii-V7-I
Gmi7-C7 -Fma7, meas. 25-27.
Bars 28-29-30 can bethought of as either B7b9-Emi, or F# dim-Emi,
31-32 E7-Ami. The last bit is basically change running. meas 33-35, cadences in 'C' continued to the turnaround Bmi7b5-E7 to next chorus.

_ _ __
V V V V V V V eV V V V V V V
gV

c V V V eV fV V eV
V
V

I 44

fig 1. solo break [cadenza]

Gtr I

T
A
B

5 4 5 7

4 5 6 4

I
T
A
B

VV gVV VV

5
7

4
6

5
7

9 12

7 6

10

10

k e VVV
V
u

12 11 10 9

VV
VV

3
3
3
3

4 7

6 4

5 5

`
We W
WW

VV e VVV
VV V

C13

WW
e WW

C9 13

5
5
5
5

8
10
9
8

10
9
9
8

6
6
7
5

V V V V V gV V
V eV

E7

E7

V gV V e V f V V
V V V
3

7 4

(5)
(7)

V e V V gV
V
V
12
I k V V
u 3

Bm7 5

WW

Am

rhythm section plays

Gm7

Bm7 5

T
A
B

E7

3
[chords can be left out here]

Am

V V V

A Chorus

Bm7 5

4 7

5 4 5 6 7 4

sl.

WW
WW
W

F6add9

8
8
9
7
(8)

V V V
V
5

V
V V V e V f V gV V V

Bm7 5

E7

(7)

Am

V V V
j j

3
8 10 8

10 9

10 7

9 10 9

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"YOU'D BE SO NICE TO COME HOME TO" - Etude, solo study

VV
gV
16
I k Vu

VV
VV

Am6add9

12
12
11
10

T
A
B

sl.

`
gVVV
21
I V

E7 9

T
A
B

V
V

V
V

W
W
gWW

F9

WWW
W

Bm7 5

10

10
8
8
7

8
8
8
7

7
6
7
7

F13

WWW
W

Page 2 of 2

V
e VVV
5
3
3
3

`
VV
VV
u

E7 9

10
9
10
9

VV
VV

4
3
4
3

(4)
(3)
(4)
(3)

`
V
VVV

VV
VV

B Chorus

VV
VV
u

E7 9

Am6

Am6

10
9
10
9

8
7
9
7

12
10
11
10

7
6
7
6

gVVV
V

WW
WW

sl.

VV
VV

`
e e VVV
eV

W
W
gWW

11
9
10
9

12
10
11
10

A m6

13
12
13
12

Am6

VV
gVV

`
e ee VVVf f VVV
f V gV
A m6

5
5
5
4

V V V V V V V
V
26
I

4
4
4
3

Am6

WW
WW

5
5
5
4

V j j

C7

k V e V V gV V V e V

(5)
(5)
(5)
(4)

7 8 10

V V V

gV

gV
V ee V e V

10 12

(12)

6 7 10 8

V ee V

Em

8 11

8 9 11 9 8

V V V V gV
V
3

8
9 10 9

V gV e V V f V V
e
V
V
V

Gm7

10

`
VV
gVV
u

E7 9

sl.

Fmaj7

T
A
B

`
gV
f VVV
u

E7 9

sl.

Bm7 5

30

E7

V eV
I V V V V gV V
T
A
B

Cmaj7

34

Am

V V V V k V V
I
u
T
A
B

V V V V

Bm7 5

E7 9

V V V V V V V
V gV
3

gV V V V V V V
4

G7

Dm7

D9

V V eV
V
e
V
f
V
V
V
3

Am

etc.
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