-
Hey fellas, I want to learn this tune, not sure if the chords I find online are accurate, I see different versions, is there any pdf or video you can recommend to at least get some proper changes to begin with?
Im using this now.
There Will Never Be Another You - Guitar Chord Study
Cheers.
-
06-10-2026 02:06 AM
-
I've seen a few Real/Fake books and this is one of those tunes that is pretty consistent no matter which book I've seen. There's a pretty strong consensus over what this tune is harmonically and melodically. I think you're pretty good in this respect.
Break the tune into harmonic segments. Really be aware as the tonal centres step down harmonically and what chords support that movement. Listen to LOTS of versions so you know the tune by ear. Get off book as quickly as you can. Study and familiarize the tune so you can intuit where you are; so you know it in real time and sing the root movement.
Work slowly and patiently. Don't fall into the trap of reading it through each time and relying on the written page to tell you where and how to move your fingers.
Once you can sing (and swing) the roots (harmonic flow) try creating melodic fragments and phrases that never lose themselves from the root movement. This will help with your harmony and sense of form.
There's also a melodic approach: Learn the tune by melody, so the notes are correct and in time; as little noodling as possible. Listening to versions by singers is really helpful this way. Go for capturing a feeling in your phrases. Sing-even in your mind when you play.
Once you have the melody down, introduce small intentional variations (now I'll shift the rhythmic values, or this chorus I'll add passing notes but not change the actual melodic identity of the piece...)
The written page is a solid starter but there is an important part of the process that you don't get trapped by the page.
Listen, internalize, control your note placement and choice, be aware.
Have fun.
-
For the last few bars I normally play
Eb | (A-7b5) D7 | Eb Ab7 | G-7 C7 | F-7 Bb7 | Eb | %
But I haven’t gone deep on the history of this tune
Sent from my iPhone using Tapatalk
-
I started working on this tune a long time ago. For a while I was just using a diatonic walk up/down for the final system. Now a days I just look at it as a diatonic vamp and can comp anything interesting that brings me home including major triads that move chromatically. It's kind of a harmonic playground. That's why I like this piece.
Originally Posted by Christian Miller
-
Soloing wise it usually ends up being some variation on a long I-V-I for me haha Originally Posted by Jimmy blue note
Sent from my iPhone using Tapatalk
-
When I was playing regularly with Mick, he'd do stuff like walk an Eb triad E triad F triad F# triad F triad F- Eb, or play this progression over an Eb pedal to drive home the sense of movement. Not saying you should but as you start to look for ways of interpreting tonality and convergence with tonal centre, there are some really cool things to throw colour onto diatonicism, whether as a comper or in the lines you yourself create. At some point you move beyond KISS and see how opportunities can be opened up to find personal expression. Originally Posted by Christian Miller
-
You haven't chosen an easy tune to do, even if you want to turn it into a Soleares or something. The charts here are all pretty much the same, as I think someone has said. So that's not really a problem.
Unless, of course, you're having trouble with them at speed. But you'll find that many professional versions of the tune are done quite slowly so you might have to make some adjustments.
Actually the chords in the charts aren't difficult. There are no strange chords there. But the bit at the end does need two chords a bar so that's probably a hard play.
Anyway, these are the chords I use. You'll notice that there's a lot of tritone substitution. But those chords aren't any more difficult to play than any others. And if you fancy spicing the backing up with a bit of chromaticism you might like them.
By the way, the way the tune is written is deceptive. It look like the usual 4 beats to the bar but the feel of it isn't, it's more like two beats to the bar. So you don't have count very quickly.
EbM7 - % - Dm7b5 - G7alt
Cm7 - Cm7/B7 - Bbm7 - Eb7/A7
AbM7 - Db7/G - Fm7 - Cm7
F7 - % - B7 - Bb7alt
EbM7 - % - Dm7b5 - G7alt
Cm7 - Cm7/B7 - Bbm7 - Eb7/A7
AbM7 - Db7/G - Fm7 - Am7/Ab7
Gm7/Ab7 - Db7/C+ - Fm7/Bb7 - Eb6
Good luck with it.Last edited by ragman1; 06-13-2026 at 12:04 PM.
-
Thanks fellas, I jusr heard this version and I wanted to be sure that I start with the right changes, it happened to me before that I find different sheets and stuff and I prefer to have a clear start point and then try to transcribe some piano versions slowly.
-
Ha. I don't even have to play that before I know. Brad Mehldau? He's probably never been simple in his life!
....
I've got to 0.20 and there are two tritones already. Just saying.
-
Check out this Mike Moreno post on Facebook. He shared some useful details and charts on There Will Never Be Another You:
https://www.facebook.com/mike.moreno...7605796714573/
Also, in bar 3, you’ll sometimes see Dm7 instead of Dm7b5, depending on the version.
-
Interesting. That Dm seems wrong (flat key Eb, 251 into Cm) but it sounds pretty good, it's stronger than the m7b5.
I quite like it :-)
-
That’s cool, I remember you talking about this on the stream. Originally Posted by Jimmy blue note
In terms of whether I should do it - I think it would depend on the gig haha. I do like it when people call me again
Bearing in mind the needs of OP, that might be a little down the road.
Actually if it’s one thing I would say is lacking in the UK scene it’s gigs where people play standards in … non standard .. ways.
It tends to be either originals projects or quite traditional takes on standards (bop etc)
Which is a shame.
Sent from my iPhone using Tapatalk
-
Hi!
In measures 29, 30, and 31, the bass and piano often play a Bb7 or Bbsus pedal. This is very convenient and less stressful than the six chords in the score, which last just over a second each.
Ettore
-
Really? How will you know which are the right changes? Originally Posted by Basshead
-
This may be my absolute favorite song to solo on!
The chart in Post #2 looks good to me.
These guys do a pretty nice job on it:
-
Poor, poor Basshead
RUN AWAY!!!!!
Sent from my iPhone using Tapatalk
-
Cheers fellas!
Theres a great version of this tune, Oscar Peterson and that Canadian guitarist with an Ibanez Roadstar, great stuff!
-
Hi Christian Originally Posted by Christian Miller
I use those chords in my trio.
For the final chorus we play bars 29 and 30 three times. It's not quite a turnaround as the C7 doesn't really take you back to the Eb. What would you suggest as alternative chords for the first two times or would you leave them as they are?
( I thought - from bar 29 - | Eb Gm | Ab Abm | Eb Gm | Ab Abm | Eb Ab7 | Gm7 C7 | Fm7 Bb7 | Eb ||
Thanks
-
I just play it as it is, it a standard ending. Originally Posted by garybaldy
Sent from my iPhone using Tapatalk
-
Try walking up and down diatonically for bars 29-30. I feel it's a little less awkward and lends more momentum to the final bars. Maybe substitute an F7 for the final F-7 to echo its appearance at the end of the 'B' section and add a little more drama, pausing on that chord and the following Bb7 and adding some fills for each. If you're keen on the Ab-, I'd extend the ending with more pauses and fills and bring it in for a minor plagal cadence:
| Eb F-7 | G-7 F-7 | Eb F-7 | G-7 F-7 | Eb Ab7 | G-7 C7 | F7 Bb7 | Ab-6 Eb ||
-
Do you mean don't do the repeat or do the repeat with the stock chords? Originally Posted by Christian Miller
-
I like the diatonic Eb Fm7 Gm7 Fm7 for the repeated bars 29 and 30. The 2nd Fm7 being appropriate for the return to Eb. Originally Posted by PMB
Or Eb Ab7(D7) Gm7 Fm7 for the repeat.
Or my original idea slightly changed to Eb Gm7 Ab Db7 (and, yes, I'm keen on the Abm with the Bb note in the melody but the Db7 will be more popular with the BD lovers!!
)
-
That would be Lorne Lofsky. Originally Posted by Basshead
-
Just the stock chords Originally Posted by garybaldy
Sent from my iPhone using Tapatalk
-
Yeah I mean that works. Stick a Bb pedal under it. As I say it depends on the gig. Originally Posted by PMB
I would say that Eb D7 I had in my changes with the Eb and D (1-7) in the melody gives slightly ugly parallelism which to be fair is quite common in modern changes for tunes - take I Remember You for the exact same thing. Whispering too.
Having a “II V” (A-7b5 D7) there softens it.
But I prefer it to the C7 in the Real Book changes.
A bIII diminished is a nice old school way to harmonise degree 7 (even though this note isn’t actually found in the chord.) (I Remember You has a Io7(maj7) in the sheet music IIRC.) These chords went out of fashion with the bop era - the later bop era especially.
This tune is overdue a deep dive from me.
Sent from my iPhone using Tapatalk
Reply With Quote
JJ music sales Ontario canada
Today, 04:01 PM in For Sale