It Could Happen To You Sheet Music Preview

It Could Happen To You: Lead Sheet / Fake Book

As performed by June Christy

Item: 35-DS00429619

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Additional Details
Publisher: Hal Leonard
Page Count: 1
SKU: 35-DS00429619

More about this title

About the Artist: June Christy

June Christy was a cool jazz vocalist whose crystalline tone and impeccable phrasing made her one of the most recorded singers of the 1950s. Known for her work with Stan Kenton's orchestra and her subsequent solo career, Christy brought a sophisticated, understated elegance to every standard she touched, influencing generations of jazz singers who followed.

For educators, Christy's interpretations serve as masterclasses in vocal restraint and swing sensibility. Her approach to melody demonstrates how minimal embellishment and absolute control of dynamics can convey emotional depth, making her recordings invaluable references for students learning authentic jazz interpretation.

Why we love this

This standard appears on countless lead sheets, but having Christy's signature arrangement in front of you while rehearsing anchors your students in how the melody sits best. Her recordings are the gold standard for this tune, and workshopping from her version (rather than generic lead-sheet defaults) deepens musicians' understanding of how jazz vocalists actually shape this American standard.

What to expect

Sophisticated and unrushed. The melody has room to breathe, with plenty of space for the vocalist to sit into the swing feel without sounding hurried. There's an effortless quality here that takes real discipline to achieve.

Who it's for

Jazz singers, pianists, and keyboardists working toward authentic interpretations of American standards. This resource works equally well for vocalists building their repertoire and accompanists learning how to comp against a vocalist's phrasing rather than metronomic precision.

How to get the most out of it

  • Reference Christy's recordings before the first rehearsal so your singers hear the rhythmic placement she uses on phrase starts and how she sits slightly behind the beat in the B section.
  • Pay attention to breath placement in relation to the chord changes; Christy's phrasing often contradicts the harmonic structure in subtle ways that create sophistication rather than confusion.
  • Accompany singers by listening to where they anchor the melody against the comping, rather than locking rigidly to downbeats, allowing the rubato that makes the standard live.

How to use it

Feature this as a vocal feature in a jazz ensemble concert or as a solo piece in a student recital where vocalists are exploring standard repertoire. It also works beautifully as a rehearsal tool for pianist/vocalist duos preparing for jazz combos or small ensemble contests.

Skills your students will build

  • Phrasing against harmonic rhythm rather than metric placement
  • Understanding lyrical interpretation within the jazz standard idiom
  • Rhythmic independence between vocal line and piano accompaniment
  • Listening for and reproducing authentic swing feel
  • Reading and navigating lead sheet symbols accurately

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