I'm looking for the Sinatra arrangement in Eb.

Anyone have the chart/chords for; "Just the way you look tonight"?

Thanks
Al

This is The Lettermen's and it's not in Eb but I could easily transpose it if you need it done.

http://www.ultimate-guitar.com/tabs/l/lettermen/the_way_you_look_tonight_crd.htm
http://www.theguitarguy.com/justthew.htm

Well, SLM beat me to it, but I couldn't find it in Eb either ... although I have it at home ...
My easy transpose trick is to write out the scale for the key it's in:
C D E F G A B C
and then the key you want it in:
EB F G Ab Bb C D Eb

The C chord would become an Eb, F would become Ab, etc. ...
Hope this helps,
t.

Al when I posted this it posted out of format. If you'd like I could try emailing it to you.

This is out of the Ultimate Jazz Fake book. It is originally in Eb. The key changes in the bridge to Gb. For any horn player this is a very difficult key and this is probably the reason why all the great Jazz horn players have recorded this tune. It is a real challenge.

Just The Way You Look Tonight

VERSE 1
Eb6 Cm7 Fm7 Bb7
Someday, when I’m awfully low
Gm7 C7b9 Fm7 Bb7
When the world is cold, I will feel aglow
Eb, Eb7 Ab
Just thinking of you, And the way you
Fm7 Bb7 Eb, Cm7, Fm7, Bb7, Eb, Cm7, Fm7,Bb7
look to night

VERSE 2
Eb6,Cm7 Fm7 Bb7 Oh,but you’re lovely, With you smile so warm
Gm7 C7b9
and your cheek so soft,
Fm7 Bb7
There is nothing for me
Eb, Eb7 Ab Fm7, Bb7
But to love you, And the way you look to
Eb, Cm7, Fm7, Bb7, Eb, Cm7, Fm7, Bb7
night

BRIDGE
GbM7 Gdim7 Abm7 Db7
With each word your tenderness grows
GbM7 Bbm7, Adim7, Abm7 Db7
Tearing my fear a part
GbM7 Gdim7 Abm7 Db7 And that laugh that wrinkles your nose

GbM7 Ebm7, Cm7b5, Fm7 Bb7
Touches my fool ish heart

VERSE 3
Eb6 Cm7 Fm7 Bb7
Lovely, never never change
Gm7 C7b9 Fm
Keep that breathless charm, Won’t you please
Bb7
arrange it
Eb, Eb7 Ab Fm7 Bb7 Cause I love you, Just the way you look
Eb, Cm7, Fm7, Bb7, Eb, Cm7, Fm7, Bb7
tonight




[This message has been edited by brickboo (edited 05-09-2005).]

Guys, you have no idea how much I appreciate all your help.

Thank you one and all!!

Regards,
Al

See, THIS is what this forum is REALLY about !!!
t.

This is a great example of a ii-V-I tune:

For example, in the chord changes Boo posted:

Verse 1:

I - vi - ii - V
Eb6 - Cm7 - Fm7 - Bb7

F: ii - V Eb: ii - V
Gm7 - C7b9 - Fm7 - Bb7

I - I7 - IV
Eb - Eb7 - Ab

ii - V - I - vi - ii - V - I - vi - ii - V
Fm7 Bb7 Eb, Cm7, Fm7, Bb7, Eb, Cm7, Fm7,Bb7

If the song is memorized by the numeral method, and simply a series of ii-V-I chord progressions, it becomes a lot easily to memorize and play in other keys as well.

Scott

Scott,

Exactly! I had figured out most of the progressions because of the II-v-I, but I get lazy sometimes, and just ask for the chart.

Thanks for pointing that out and giving us some tips on how to memorize these charts.

Your help is invaluable!!

Regards,
Al

Yep, this tune includes not only the classic II-V-I turnaround, but the entire I-VI-II-V-I chord progression which most all jazz students are expected to master & memorize (on their instrument) in EVERY key.

The CHORDS & associated chord PROGRESSION patterns are the FOUNDATION of a song. Once we learn to recognize these so often familiar re-occuring patterns, song memorization becomes quicker & easier. From there, jazz musicians may add extensions (9,11th, 13ths) & even play altered tensions (b9,#9, #11, b13, etc) , or play chord substitutions (tri-tone chords, etc) to enrich the sound of a song. American Tin Pan alley tunes (1910's- 1950's) particualrly lend themselves to this type of chord improvisation because they are typically based on the: I-Vi-ii-V chord progression.

Scott

Al just remember the key changes at the bridge to Gb(F#), and notice the progression of the chords at the turn-around at the end of the bridge to get back to the key of Eb.

Boy with an acoustic bass, drums and piano this stuff really swings when everyone can not only improvise but swing also.

Some folks know all the technological chord theory, (head knowledge) but they never learn to swing. Many of the jazz greats said either you got it or you don't, meaning swing.

Even if we can't swing it doesn't mean we should give up. The biggest room in the world is the "room for improvement" We can all do better!