Learn To Play Let's Get Lost

Let's Get Lost (Chords & Lyrics) l Piano Diana


Frank Loesser wrote the words and the music by Jimmy McHugh in 1942. The song is from the Paramount Picture Happy Go Lucky. It's a moderately smooth song. I like to play Let's Get Lost on a Vintage Voice setting on my Yamaha.



Chords and Lyrics to Let's Get LostIntroF#m7b5  B7#5  Em7b5  A7#5  Dm7b5  G7#5  Dm7sus  G7#5
Cmaj7       Cdim7     Let's get lost,Cmaj7                   Ebdim7Lost in each other's arms
Dm7       A7
Let's get lost 

Gm6/Bb                 A7
Let them send out alarms

Dm                      G7                  Em7  Am7  F#m7b5  B7#5
And though they'll think us rather rude
Em               A7             A#dim7   B7#5 B7  Dm7  G7#5
Let's tell the world we're in that crazy mood

Cmaj7     Cdim7  Cmaj7   Ebdim7
Let's defrost in a romantic mist
Dm7       A7      Gm6/Bb           A7
Let's get crossed off everybody's list
Dm7     G7                          Em7  Fmaj7  G#dim7  Am
To celebrate this night we've found each other
Dm7  Dm7/G  G13b9 C6  A7#5  Dm7  G7#5
Mm, Let's get lost

Cmaj7      Cdim7 Cmaj7    Ebdim7
Let's defrost in a romantic mist
Dm7       A7       Gm6/Bb          A7
Let's get crossed off everybody's list
Dm7  G7                            Em7  Fmaj7  G#dim7  Am
To celebrate this night we've found each other
Dm7  Dm7/G  G13b9  F#m7b5
Mm, Let's get lost

B7#5  Em7b5  A7#5  Dm7b5  G7#5  Cmaj9

With the intro, I'm playing:

L.H. / R.H.

F#/CEB
BA/D#GD
E/BbDA
AG/C#FC
D/AbCG
GF/BEbBb
D/AbCG
GF/BD#

Chords to know throughout the song:

A7 = A/C#FA and AG/C#A and AG/C#F#
A#dim7 = A#G/C#F#
A7#5 = AG/C#FC

B7#5 = BA/D#GD

Cmaj7 = CB/CEB
Cmaj9 = CE/BDG
Cdim7 = CC/EbF#C
C6 = C/GAC

Dm7 = D/AEG and D/CFA
Dm7b5 = D/AbCG

Ebdim7 = EbC/F#AC
Em7 = E/DG
Em7b5 = E/BbDA

Fmaj7 = F/EA
F#m7b5 = F#/CEB


G7 = GF/BE
G7#5 = A/BD#
Gm6/Bb = BbG/DEG
G#dim7 = G#/FB
G13b9 = GF/AbB



All the best






"Jazz washes away the dust of every day life." -- Art Blakey

Basic Training: The Diminished Scale

Dr. Steven Snyder is professor of Jazz studies at Morehead State University


Undiminished Importance


Getting familiar with the diminished scale and dominant chords by Dr. Steven Snyder.


The diminished scale is a great choice for creating colorful melodies and lines on dominant seventh chords. It provides many opportunities for linear and arpeggiated use, and includes color tones that are central to the jazz improvisor's vocabulary.

There are at least five names that are used to identify this scale. It is most commonly referred to as the diminished scale, although this name does not specify exactly what interval content is referred to. sometimes this scale is called the "whole half scale," or the "half whole scale." This name is derived from the alternating whole step and half step intervals in the scale. While this name offers some more specific information about how the notes in the scale are ordered, it still does not allow someone to positively identify which notes are in the scale. This is because starting with the whole step at the top of the scale and descending results in a different set of notes than starting with a whole step at the bottom of the scale and ascending.

A similar problem results when referring to the scale as a half whole scale. Probably the least used name among jazz musicians is the one that I feel offers the most specific way of identifying which collection of notes are being referred to, and involves numbering pitches. C is 0. C3 is 1. D is 2. D# is 3. The scales are then named by which two pitches a half step apart are appearing in the scale. {0, 1} is an octatonic scale that contains the pitches C and C# regardless of where the scale begins and ends, or to what scale the chord is being applied.

Example 1.

C (0)  C# (1)  D (2)  E# (3)

By using this integer notation method we can order the scales and chords into three scales that are each associated with four dominant chords. The pitch C is numbered 0, C# is 1, D is 2 amd Eb is 3. Each scale is identified by an interval of a half step using these four numbers. Octatonic scales are then classified as (0, 1) (the group of scales which contains the notes C and C#), or (1,2) (the group of scales which contains the notes C# and D, or (2,3) (the group of scales which contains the notes D and Eb). (0, 1) will match the dominant chords C7, Eb, F#7 and A7. (1, 2) will match the dominant chords C#7, E7, G7, Bb7. (2, 3) will match the dominant chords D7, F7, Ab7, B7.

The application of this scale to a dominant chord is one of the most typical choices a jazz improvisor makes. The scale is consonant with a dominant sonority that features a b9, #11 and natural 13th as color tones. The scale must contain the b9 and root of the dominant chord in question to be a match. Thus, we can construct the scale staring with a half step from the root to the b9 and then alternating whole and half steps from there until the root is reached again at the top of the scale. Thinking about the scale in a descending format would mean starting at the root of the dominant seventh chord and beginning a descent down with a whole step first and then alternating half steps and whole steps until the root is reached at the bottom of the bottom scale. Another convenient way to think of the scale is that it is comprised of the first four notes of two descending mixolydian modes whose root notes are a tri-tone away from each other.

Example 2.

C, Bb, A, G, F, E, D, C / Gb, Fb, Eb, Db, Cb, Bb, Ab, Gb

Top Half of C Mixolydian  / Top Half of Gb Mixolydian

C, Bb, A, G                       / F#, E, Eb, Db

Because each scale is consistent with four chords of the same quality, we can think of the chords themselves as simply groups of notes that are extracted from the scale, and are applicable to any of the other chords in the group for which a diminished scale is consonant.

Example 3.

(0,1) Octatonic
C, Db, Eb, E, G, A, Bb

(1,2) Octatonic
Db, D, E, F, G, Ab, Bb, B

(2,3) Octatonic
D, Eb, F, F#, Ab, A, B, C

The following arrangements of notes was often used by John Coltrane, and is derived from the octatonic scale.

Example 4.

C, Bb, Eb, Db, A, G, C, B / F#, E, A, G, Eb, Db, F, E

There's so much more...

I learned a lot from this article. I have subscribed to Jazzed magazine but if you're interested in reading Dr. Snyder's entire 2013 article, you can view it online, here.

You may or may not know but Hear and Play has released new software. Learn how to play your favorite songs in record time with Song Tutor Software. It's brand new for PC and Mac. 

All the best,






"Jazz washes away the dust of every day life." -- Art Blakey

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