Just One Of Those Things: Lead Sheet / Fake Book

This lead sheet captures one of Broadway's most naturally singable melodies with Porter's characteristically urbane chord changes. It's the kind of tune that sounds effortless on first hearing but rewards careful harmonic study, making it excellent for musicians moving from standards repertoire into jazz vocabulary.

Sophisticated and wistful, with a touch of irony in its acceptance of romantic fate. The melody glides through Porter's harmonic landscape with a conversational ease that feels both intimate and performed, like someone recounting a brief, meaningful encounter over cocktails.

Vocalists expanding their jazz and standards repertoire will find this lead sheet invaluable for learning the changes and working with accompanists. Pianists using fake books for gigs or rehearsals can reference the chord chart alongside their own comping style.

• Navigate the bridge's chromatic movement with deliberate voice leading; the descending bass line should anchor the harmonic progression even as the melody moves freely above it.
• Treat the rhythm section loosely during the head. Swing the eighth notes and let the piano comp around the vocal line rather than locking rigidly to a click.
• The lyrical storytelling matters here. Shape the melody to the text, particularly in the opening phrase where the conversational tone sets the entire character of the song.

Pair this with other Porter standards in a jazz or cabaret concert to build a thematic evening around Broadway's greatest songwriters. It also works beautifully as a palate cleanser between heavier classical or contemporary works, giving audiences a moment of relaxation and joy.

• Reading lead sheet notation and chord symbols
• Understanding diatonic and chromatic harmonic movement
• Interpreting rubato and swing feel in melody and accompaniment
• Collaborating between vocalist and pianist as equal partners