There Will Never Be Another You Chords Analysis

One great jazz standard to study that has a lot of classic diatonic jazz harmony but with a few twists and turns in it is There Will Never Be Another You.
So, in this video today, I'm going to do a full-on, in-depth chords analysis of There Will Never Be Another You.
This lesson comes out of my brand new eBook and Companion Course "The Jazz Standards Playbook Vol. 2." Check it out here: www.learnjazzs...
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[@warrenhanlin1568]

After 20 years of slopping my way through this tune, I decided to make a study of if. Your analysis saved me a lot of work. I haven’t been in a theory class since 1972. You are obviously thinking about how chords connect on a daily basis. Thanks for the clear explanation of a progression that has useful applications beyond this one tune!

[@KMerrells]

If you ever decide to play this song at a burning tempo, and want to simplify the changes, you could ignore the ii chords (leaving the strong sense of resolution), or the V chords (sacrificing the resolution for melodic considerations). For example, in the first 8 bars, if you ignore the V chords, you get Ebmaj7 - Dm7 - Cm7 - Bbm7 (then to Abmaj7). The downward shifting of chords is of a 1/2 or a whole step, which is a great opportunity for melodic motivic development, with fairly simple transposition.

[@Learnjazzstandards]

Interesting Kris, thanks for sharing!

[@davidsummerville351]

My top 10 favorite standards. Great melody, great changes. Wide range of tempos fit this song.

[@lbb2rfarangkiinok]

Great stuff. Dmin7flat5 is also the 7 in Eb tho. Only the G7 is out.

[@Tom-up9re]

IMO, yes Dm7b5 is the 7 of Eb, since Dm7b5 and G7 are ii/V that resolve to Cm, that's more useful for improvisation to group it into Cm. Cheers😊

[@ahwebb7983]

Brent, thanks, I like the presentation of chord movements and relationships. For comment of the day, I would just say that the first part of the song moves slowly down a major scale- eb, d to g, cm, bbm, so on, until the 2 chord. This isn't the most pertinent detail for improvisation but just kind of an arc downward that catches my ear as I hear this song.

[@sandrocavali9810]

Great. I have to transpose this to C for a singer. Very very useful

[@pedalsteelguitarjazzbebop4889]

I think this is the most logical, concise and direct to the point analysis out here. My struggle is with the las 4 bars, because the chord leading up to it and pointing to Gm, while they can be explained away, are difficult to "organize" when it comes to soloing. I got to the point today, where I feel that it just goes chromatically down from IV (Ab) to I (Eb Maj) where the last chromatism (#I) suggesting a Tritone of V, could be replaced with the "correct" V. If that makes sense. I don't know (and by far no way as much as you). But those last 4 bars would certainly make a nice subject to discuss how to approach soloing over them without burning a hole out of one's forehead.

[@jedmarsillo]

This is one of my favorite standards. I play Kenny Burrells version from Lotus Blossom. This is such a great breakdown I will certainly use it to compare to what he is doing. This will really help me better understand this beautiful song. Thanks so much Brent.👍

[@Learnjazzstandards]

Awesome, glad to help Jed!

[@madyeti3224]

Thanks…definitely need more of this.

[@fusion-music]

This helps me in understanding the ideas Paco de Lucia brought to Flamenco. Nicely explained.

[@alanhowell3646]

great analysis. so useful

[@stingray5]

That was awesome. Thanks, Brent.

[@Learnjazzstandards]

My pleasure Jason!

[@bufanzhu5540]

Very helpful, thanks for the video!

[@Marcosls2015]

This was great..thanks for sharing!

[@ruby_gleyzes]

Well done!

[@Learnjazzstandards]

Thanks!

[@senatorchris3134]

What are the chords in the interlude of chet bakers trumpet solo intro on his recording of this tune where he goes from the key of F to Eb

[@SuperMegaKisan]

I tend to hear the bVII dominant chord as a IV minor chord. So I will use the same scale/arpeggios over both chords, which will be Ab melodic minor (if I’m in Eb major). This feels more natural to me. What’s your thoughts on this? :)

[@Learnjazzstandards]

Well, you could think of it that way, and perhaps a m6 would be most appropriate. Ab melodic minor does work, especially because it plays the major 3rd of the bVII dominant

[@joepvanleeuwen9257]

Your analysis is actually the correct one. The basic harmonic motion in this section of the song is a sub-dominant cadens, Ab major to Ab minor (to Eb). Db7(#11) is really just a Ab-6 (or a Ab- maj 7, hence the #11) chord with a Db bass. The note Db allows for motion in the bass solving the static Ab root in both Ab major and Ab minor.

[@LowonDutch]

In the first 4 bars, why do you think that we are changing to the relative minor? You could also say we go I - VII - iii - vi (or in solfege, Do - Ti - Mi - La) and just stay in Eb major, you still have the secondary dominant (iii - vi (mi - la) down is still a fifth).

[@Learnjazzstandards]

Sure that's another way to look at it. I explained in the video how the vi chord is being tonicized by the G7, so an easy way to look at that and simplify is to understand that it is a minor ii-V-i in the relative minor.

[@Jaiarrhea]

I’ve noticed your analysis on chord changes are based on real book changes not necessarily the original. Do you ever transcribe the original versions and see how the chords compare ? I think I’d be worth putting in the original changes to these tunes they have their own appeal even if they aren’t used at jams so much

[@Tom-up9re]

I am now studying the tune, also wonder which one could be considered the original. Transcribed one from Lester Young, the changes near the end are quite different than those found in RB6 or ever RB5. Would you please share the track that's the original?

[@Martinjazz16799119]

That’s very good but, how’s the melody related with the chords? Any tips and how to learn it besides by ear?

[@Learnjazzstandards]

Hey there, I would always suggest learning the melody by ear. There is really no better way. But afterward you can go back and see how the melody notes relate to the chords.

[@sccheng9444]

thats difficult to practice, i been told to practice ii V I with certain licks, and now many songs keep pop up other chords. So How to practice chord tone effectiency ?

[@lavenderfana3137]

Thanks man, quick quest: Why do some people replace the 2-5 to iii (a min7b5- D7) to F 13? Love your stuff

[@Osnosis]

The F7 is the a-7b5 with F added as a tonic. Additionally, it’s a minor 3rd up from the D7, so the D7 with a b9 and #9 gives you F7 as a substitute.

[@Jaiarrhea]

The changes from the version I transcribed (Shirley Bassey) had II7 - I/V - II7/#IV - V/IV - and kinda just walks to the ii - V cadence at the end. Looked at original sheet music and the original seems to use similar idea with the F7 - Eb/Bb (kinda acts like a suspended 5, it’s a good sound) I prefer that, I think Brent usually gets up the real book changes cause that’s what people will play at jam sessions

[@JanvanKnip]

Interesting analysis, Brent but I'm wondering how that helps with improving over these chords?

[@marshallcrocker8239]

knowing the harmony will always help you improvise over chords. you wouldn't play the same way over an Eb7 chord that's leading to F as opposed to an Eb7 chord leading to Ab. Knowing the harmony really helps.

[@TheWeyeswon]

Working on this as a chord melody arrangement with my teacher. Always enjoy your analysis as well but as I asked in a previous video, I would sure like to see your voicings and fingerings in the videos. You're a good looking guy but would rather see the fretboard!

[@talawa777]

Question. The Dm7b5 - G7alt - Cm7 . . Can you also think of it as a minor 251 in Cm. And in turn use a 251 of Cm harmonic minor?

[@MegaROGERWATERS]

Yes

[@markwinckley6374]

These analytical and your aural training videos are and will be paramount to my success as a bass player. Thanks so much dude! Just had a bass lesson and we got a bit into analytics on TWNBAY which helped. But this video is showing the analytics even more and saving me from getting confused at the piano 😂

[@ConnorJohnson318]

You mention that there's two A sections in this piece, but how does that work? Do you play A1 over and over until you finish with A2? Or do you always just do A1 then A2? What other songs have this form? Thank you for such a great explanation of this piece.

[@markfreemantle7608]

I think the Form is ABAB'. Some might call it ABAC but measures 9-16 and 25 - 32 are very similar, at least for the first 3 measures. I suppose the chords change to match the melody and to fit an expanded turnaround. BTW, if you repeat the song, you need a Bb7 and the second half of measure 32. Also, I like this shape for a rootless Db9#11, in measure 10: xx3443. The G melody note is on string 1. Mark

[@jeremiahwilliamsmusic]

thx!! very helpful!

[@CabooseSNR]

Hey man, just a question. Some other lead sheets i see of this tune sometimes have some different substitutions. For instance the I've seen the backdoor dominant replaced with a F-7b5 to Bb7. Or in the ending with the A-7b5 to D7 being replaced with just G-7 to C7. I guess to put it simply, is the form you have the most common to show up? thanks!

[@Learnjazzstandards]

Hey Seth! Yes, these changes are really the most common you are going to come across. That being said it’s important to know what other musicians play, so I would suggest going to recordings and listening to different version as well as looking at lead sheets.

[@CabooseSNR]

@@Learnjazzstandards great point! Thanks a ton

[@musicarroll]

The D7 to Eb movement before last four bars is what classical composers call a deceptive cadence, which introduces a harmony a third below the implied tonic. Great job, btw. http:www.musicarroll.com

[@genevbaker]

Not a deceptive cadence if it resolves to the tonic. ii-V of iii is the better analysis here

[@stangetz534]

Hey bro- everything you do should be based on one of the top 100 jazz jam tunes. This will get a ton of views. Jeff Schneider did a chord analyssis of All the things you are and it got 300,000 views. If you or any other youtube teacher does an analysis of all 100 top jazz jam standards it could translate into millions of views. Thanks

[@rongibbs390]

Or sell quite a few books, and actually make some money!

[@kartikissar]

Bhot badiyaaa 🇮🇳

[@jaimesession5214]

You said that Dmb5 it's not rellated directly whit Eb. What do you mean whit that? Dmb5 it s actually the seven chord in the harmonic field of Eb. Right?

[@Tom-up9re]

IMO, when improvising, it's more important to think how the changes resolve. So I would say it's more useful to think Dm7b5 and G7 as ii/V of Cm, because they both resolve into Cm.

[@justinjake1226]

Colorblind person here, informative but those colors man 😥

[@Learnjazzstandards]

Sorry about that Justin! The Roman numeral analysis does explain the harmony though

[@Beasly-xy4hs]

Ws in the chat

[@kartikissar]

I've G7flat9

[@donlessnau3983]

Confusing. Secondary dominant??? Of what? It's just a 2-5-1 in Cm? What are you talking about? Doesn't make any sense. It would also help to show the melody notes as well. I did not find this very helpful.