This week’s post features a guitar arrangement of the jazz standard, “There Will Never Be Another You” written by Warren & Gordon.

Following is a brief harmonic analysis of the piece, designed to help you identify the cadences (eg. II-Vs) that make up the overall chord progression along with their corresponding scales. A proper understanding of this information is crucial in to properly learn and ultimately improvise over any jazz standard, not to mention create an arrangement for it.

Here is a summary of the harmonic activity for “There Will Never Be Another You” broken down into 4 measure segments. A PDF with the entire arrangement is available for download at the very bottom.

Please be sure to watch the video lesson if possible with your guitar in hand for additional “technique” related info and a better overall understanding of the arrangement.

Analysis Measures 1-4:

• 1. Ebmaj9: Imaj7 / Ionian.
• 2. Same as previous.
• 3. Dmin7b5: VII-7b5 / Locrian. This is a double function chord as it is also the secondary II-7b5 of the VI-7.
• 4. G7alt: secondary V7 of the VI / Super Locrian.  Resolves to the upcoming Cmin9.

Analysis Measures 5-8

• 5. Cmin9: VI-7 / Aeolian.
• 6. Same as previous.
• 7. Bbmin9: secondary II-7 of the IVmaj7 / Dorian.
• 8. Eb9: secondary V7 of the IVmaj7 / Mixolydian. (Resolves to the upcoming Abmaj7).

Analysis Measures 9-12

• 9. Abmaj7: IVmaj7 / Lydian.
• 10.Db7#11: bVII7 / Lydian Dominant. (Modal interchange chord borrowed from the parallel Eb natural minor tonality).
• 11. Gmin7: III-7 / Phrygian
• 12. Cmin7: VI-7 / Aeolian.

Analysis Measures 13-16

• 13. F7: Secondary V7 of the V7 / Mixolydian or Lydian Dominant.
• 14. Same as previous.
• 15. F#min7: sub II-7 of the V7 / Dorian | B13: sub V7of the V7 / Lydian Dominant. (Resolves half step down to the upcoming Bb7)
• 16. Fmin7: II-7 / Dorian | Bb7: V7  | Mixolydian (Resolves to the upcoming Ebmaj7 which begins the B section).

NOTE: Measures 17 through 24 are harmonically the same as measures 1 through 8, therefore won’t be repeated here.

Analysis Measures 25 – 28

• 25. Abmaj7: IVmaj7 / Lydian.
• 26. Db7#11: bVII7 / Lydian Dominant. (Modal interchange chord borrowed from the parallel Eb melodic minor tonality).
• 27. Ebmaj7: Imaj7 / Ionian.
• 28. F9: secondary V7of the V7 / Mixolydian or Lydian Dominant. | F#dim7: #IIdim7 / symmetrical diminished.

Analysis Measures 29 – 32

• 29. Ebmaj7: Imaj7 / Ionian | Ab7#11: IV7#11 / Lydian Dominant (modal interchange borrowed form the parallel melodic minor tonality; resolves down by half step to the upcoming G)
• 30.Gmin7b5: secondary II-7b5 of the II- / Locrian | C7alt: secondary V7 of the II- / Super Locrian.
• 31. Fmin7: II-7 / Dorian | Bb7: V7 / Mixolydian.
• 32. Ebmaj7: Imaj7 / Ionian | (For turnaround only) Bb7: V7 / Mixolydian. (Resolves back to the initial Eb).

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Listening to various arrangements of a given standard is recommended whenever learning a new piece as it will broaden your understanding of the different ways it can be interpreted. Here is a list of some of my favorite renditions of “There Will Never Be Another You” . Please keep in mind that these are just a few I’ve been able to get my hands on. If you know of other great ones, please be sure to mention them in the comments section.

SUGGESTED DISCOGRAPHY

• Kenny Burrell / “Lotus Blossom”
• Jimmy Raney & Doug Raney / “Nardis”
• Jimmy Raney & Sonny Clark / “Together”
• Wes Montgomery / “Live at Jorgie’s Jazz Club”
• Lenny Breau / “Live at Bourbon Street”
• Dave Liebman / “Return of The Tenor”
• Kenny Werner Trio / “Live at Visiones”

Here you can check out my personal rendition of “There Will Never Be Another You”:

Your Comments are greatly appreciated! Feel free to post any questions you may have or any insight you would like to share regarding this lesson.

MORE CHORD MELODY LESSONS:

How to play “Just Friends” with Chord Melody

How to play “Days of Wine & Roses” with Chord Melody

How to play “Out of Nowhere” with Chord Melody