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  1. #1

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    I see and hear some many changes used for the last 8 bars of this tune. What do most of you use for the tune but even more specific the last 5 bars. Normally I play it in eb. There seems to be a number of ways to get around these last bars and never seen anything consistent.
    specializing in repair and setup, does your guitar play like it should?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    I think the old Real Book changes suck ass. The irealb ones ought to be ok iirc.

    I play something like

    | Ab | Db7 | Eb | Am7b5 D7 |
    | Eb Ab7 | Gm7 C7 | Fm7 Bb7 | Eb |

  4. #3

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    Quote Originally Posted by christianm77 View Post
    I think the old Real Book changes suck ass. The irealb ones ought to be ok iirc.

    I play something like

    | Ab | Db7 | Eb | Am7b5 D7 |
    | Eb Ab7 | Gm7 C7 | Fm7 Bb7 | Eb |
    or switch it up occasionally with descending tritone dominants on last 4:

    | Eb / D7 | Db7 / C7 | B7 / Bb7 | Eb |

  5. #4

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  6. #5

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    Quote Originally Posted by pcjazz View Post
    or switch it up occasionally with descending tritone dominants on last 4:

    | Eb / D7 | Db7 / C7 | B7 / Bb7 | Eb |
    These are the changes I use most often -- emphasizing 3rd and 7s.

    I do it because that's the way I hear the harmony in my mind. But, this tune usually gets counted off fast, so sliding two fingers down from D7 to Bb7 is kind of a chance to rest.

  7. #6
    All of these i have used and i guess i am like Roger I just hear the harmony moving down. In my mind i need one recipe to memorize then go from that point.
    specializing in repair and setup, does your guitar play like it should?

  8. #7

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    Barry it:

    | Ab | Db7 | Eb | D7b9 |
    | Eb | % | Bb7 | Eb |

  9. #8

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    A la Nat King Cole in five flats:

    |Db maj7| |C7+5| |B13| |Bb7b9| |Eb mi9| |Ab13b9| |Db 6/9|
    Last edited by Uncle Vinnie; 11-20-2018 at 09:39 AM.

  10. #9

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    Ralph Patt's vanilla book changes are pretty reliable for comping, IMO. For any song he as posted, not just this one.

    |C7 |Eb D7 |G7 C7 | Fm7 Bb7 | Eb | is what he has. Nothing sophisticated, just the vanilla changes. I prefer vanilla when comping for a soloist, fewer train wrecks that way.

  11. #10

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    Quote Originally Posted by christianm77 View Post
    Barry it:

    | Ab | Db7 | Eb | D7b9 |
    | Eb | % | Bb7 | Eb |
    I'm curious here. I totally get the Db7, but why not just see it more simply as a move |IV|iv|I| etc. Seems to me that Ab to Abm6 is much easier to feel while playing that Ab to Db7. I understand that Abm6 and Db9 are the same, but as far as thinking, the Ab to Db7 strikes me as counter-intuitive. Now, if I were a great jazz player I guess that would carry some weight. Since I'm not, it doesn't, so this is a genuine question!
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  12. #11

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    Quote Originally Posted by lawson-stone View Post
    I'm curious here. I totally get the Db7, but why not just see it more simply as a move |IV|iv|I| etc. Seems to me that Ab to Abm6 is much easier to feel while playing that Ab to Db7. I understand that Abm6 and Db9 are the same, but as far as thinking, the Ab to Db7 strikes me as counter-intuitive. Now, if I were a great jazz player I guess that would carry some weight. Since I'm not, it doesn't, so this is a genuine question!
    Cos everything is dominant to Barry. We play the dominant scale (mix) a lot at least at the start.

    You could view it the other way, and then you would play minor on it. That would be important minor.

    Parker seems to have preferred the first sound. So that’s prob why BH teaches it first .

  13. #12

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    Couple of years ago we had that song in practical standards thread. Many participated, including me:

    February 2015 - There Will Never Be Another You

    I do not remember about others, but I certainly used notation provided in #1 post (OP) in that thread.

    Also, on JGB lessons pages:
    There Will Never Be Another You | Jazz Guitar Comping
    ^ ^ ^
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    v v v

  14. #13

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    Quote Originally Posted by pcjazz View Post
    or switch it up occasionally with descending tritone dominants on last 4:

    | Eb / D7 | Db7 / C7 | B7 / Bb7 | Eb |
    Tritone subs for all these (except the tonic chord) also works well with the melody:

    | Eb / Ab7 | G7(#9) / Gb7 | F7 / E7(#9) | Eb |

  15. #14

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    Barry does in fact teach it as a "move," that's exactly right. following the order of the instruction material (i have all of it), christian is right in that he teaches the dom scale approach first.

    The workbook has some really cool demonstrations on how to highlight the major to minor IV movement, I haven't gotten to really drill them yet...there's so much to practice!
    White belt
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  16. #15

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    here's an example from this fantastic teacher regarding Barry Harris movements (including 4 minor)



    Anyone interested in BH should go through his videos to see if the method resonates
    White belt
    My Youtube