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Come Rain Or Come Shine

Here are the fingerings that I use to play a chord-melody arrangement of Johnny Mercer and Harold Arlen's 1946 standard Come Rain Or Come Shine. I play it in the key of C not the original key of F. The song is played in a medium 4/4 time.

K. J. McElrath, Musicologist for JazzStandards.com, explains the song this way: "The initial harmonic progression is actually quite simple and common, being a variation of I – III7 – vi – II7 – V7 – I, but the use of a viiø7 after the opening I chord leading to the III7 gives it a more sophisticated sound. The “B” section is a bit more complicated. It is actually in the parallel minor key, starting with a iv – V7 – I sequence. The next two measures descend by whole steps from iv down to ii7 – V7 but then the melody goes into a false key change by going to a minor chord one step higher (functioning as a ii7 of the old V7, which has now become the new “tonic of the moment”). The following sequence: i – viø7 – ii7 (embellished with a bVI7 [augmented sixth] chord before the ctø7 based on a vi with a flatted fifth) gets the progression back to the original tonic when theV7 resolves to a I7 that becomes the pivot chord and V7 of the original tonic of Section “A.”

At first glance/hearing, Section “C” seems to be quite a detour, but what sounds initially like deceptive resolutions are actually variations of standard ones. For example, Arlen’s original progression at “C” was coming from a Dm chord: F#m11– B7 – Em7 – A7, with one chord change per measure. It sounds odd, but really all Arlen is doing is leaving out some secondary dominants (that could easily be included). Possible chord progression here might be: F#m11 (four beats), B7 (two beats) – E7 (two beats) – A7 (eight beats). (An Em chord could be thrown in for the last two beats of measure 7 of Section “A2” to avoid monotony.) After this, the final “C” section does, indeed, contain deceptive cadences and resolutions, giving the aural impression that the song will return to F major. Instead, when Arlen reaches the II7 in measure four, he goes not to the V7 (C7) but to D minor, finishing the song with a cadence that leaves no doubt that the tonic is now, indeed, that key."

A
   CM7   C6        Bm11  Bb7b5     Am  Am(M7) Am7 Am6
E--0-0-0-0-0-0--|--0-0-0-0-0-0--|--0--------|--------|
B--0-----1------|--3-----3------|--1-1-1-1--|--1--1--|
G--0-----2------|--2-----1------|--2-----1--|--0--2--|
D--2-----2------|--0-----3------|--2-----2--|--2--4--|
A--3-----3------|--2-----1------|--0-----0--|--0--0--|
E---------------|---------------|-----------|--------|
 1.              2.              3.          4.

   D11   D9        Dm11  G7b9/B    CM7  Ab7 Gm11Gb7b5
E---------------|--3-0-0-0-0-0--|--0--------|-------||
B--5-5-5-5-5-5--|--1-----3------|--0-1-1----|--1--1-||
G--5-----5------|--2-----1------|--0-----5--|--3--3-||
D--5-----4------|--0-----3------|--2-----4--|--3--2-||
A--5-----5------|--------2------|--3--------|-------||
E---------------|---------------|--------4--|--3--2-||
 5.              6.              7.          8.
B
   Fm7 G7b9       Cm7 G7b5       Fm7 Dm7b5   Dm11G7#5 
E---1--1---1---|---3----------|---1--1---1--|--3--3--|
B---1--0-4-----|---4--1-1-1---|---1--1-4----|--1--4--|
G---1--1-------|---3--3-------|---1--1------|--2--4--|
D---1--0-------|---5--2-------|---1--0------|--0--3--|
A--------------|---3----------|-------------|--------|
E--------------|------2-------|-------------|--------|
 9.             10.            11.           12.

F#m7b5 B7b9    Em7b5 A7b9    Em7b5 A7b9F#o   Dm9 G7b9
E--5--5-3-5--|--6-3--3-5--|--6-3-5--3-1----|--------||
B--5--4-1-4--|--5-3--2----|--5-3----2-0-3--|--5--3--||
G--5--5-2-5--|--7-3--3----|--7-3----3-1----|--5--1--||
D--4--4-1-4--|--5-2--2----|--5-2----2-0----|--3--3--||
A------------|-------0----|---------0------|--5--2--||
E------------|------------|----------------|--------||
 13.          14.          15.              16.
A1
   CM7   F#m7b5    Bm7b5 E7#5      Am7  Bb9  Am7 D7/F#
E--0-0-0-0-0-0--|--0-0-0-0-0-0--|--0--------|--------|
B--0-----1------|--3-----1------|--1-1-1-1--|--1--1--|
G--0-----2------|--2-----1------|--0-----1--|--0--2--|
D--2-----2------|--3-----0------|--2-----0--|--2--0--|
A--3------------|--2-----2------|--0-----1--|--0-----|
E--------2------|--------0------|-----------|-----2--|
 17.             18.             19.         20.

  D#m7b5 F#o7    C#m7sus F#7#5   E/D Dbm7C7 Bm11Bb7b5 
E--2-2-2-2-2-2--|--2-2-2-2-2-2--|--4-----0--|--0--0-||
B--2-----1------|--0-----3------|--5-5-5-1--|--3--3-||
G--2-----2------|--1-----3------|--4---4-3--|--2--1-||
D--1-----1------|--2-----2------|------2-2--|--0--3-||
A---------------|---------------|--5---4-3--|--2--1-||
E---------------|---------------|-----------|-------||
 21.             22.             23.         24.
C
   Em11            A7         Am7             D9
E--5-5-5-5-5-5--|--5-------|--5-5-5-5-5-5--|--5------|
B--3-----3------|--5-------|--5-----5------|--5---0--|
G--4-----4------|--6-------|--5-----5------|--5-2----|
D--2-----2------|--5--7-7--|--5-----5------|--4-0----|
A---------------|--7--7----|---------------|--5------|
E---------------|--5--5----|--5-----5------|----2----|
 25.             26.        27.             28.

   Am7   F#m7b5   Bm7b5  E7b9     A6 (Eb9#11 Dm7 G7)
E--0-0-2--2-5--|--7-7-5--7-5-7--|--5-------|--------||
B--1------1-5--|--6-6----6-3-6--|--7-------|--------||
G--0--------5--|--7-7----7-4-7--|--4-------|--------||
D--2------2-4--|--7-7----6-3-6--|----------|--------||
A--0------0----|----------------|--7-------|--------||
E--------------|----------------|--5-------|--------||
 29.            30.              31.       32. 

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