"There Will Never Be Another You" is a popular song by Harry Warren (music) and Mack Gordon (lyrics). It is one of the most known jazz standards and an indispensable study for any jazz guitarist. This jazz guitar comping lesson provides you different chord positions (drop 2, inverted, rootless and extended chords) on the top four strings of the guitar to comp over this jazz tune. By the way, it will also give you some new ideas to support harmonically a soloist. Indeed, you may even try to apply these chord voicings to the tunes you are used to play.
To enrich and modernize the harmonization of a piece it is common to use fourth chords. They can replace some original chords to bring more melodic freedom into improvisation and more tension in harmony. Since the late 1950s, harmony in fourths has played a very important role in the development of modern jazz. Musicians and composers have used a lot the quartal harmony. Among them, the great American pianist McCoy Tyner, who is a master in the art of playing quartal chords. Mike Stern, Herbie Hancock, Chick Corea, Bill Evans and Kurt Rosewinkel have also used this technique. In this lesson we will see how to build chords in fourths, how to harmonize the major scale with and how to use them in comping.
Jazz guitar improvisation on the jazz standard "There will never be another you" (64 bars)
The II-V-I sequence is the most common chord progression used in jazz music but also in a whole number of styles of music as pop, rock, blues, country. This theoretical element is a must know for any guitarist who wants to learn the jazz language because. It is present in a large number of jazz standards (Summertime, Autumn leaves, Blue bossa, All the things you are and many more). The mastery of this harmonic cadence will open up many perspectives in your guitar practice, whether in composition, in improvisation or more in the practical and theoretical learning of your instrument. Notice that this post is focused on major II-V-I cadence.
One of the fundamental theoretical elements to understand music is the harmonization of the major scale. Harmonizing scale is building chords with notes. For this, you have to stack thirds (It is also possible to harmonize the major scale in fourths). If you are wondering why thirds and not seconds or sixths for example, the reason is mainly historical: our music today is based on harmony in thirds. Once you have read this lesson, you will be able to find the tonality of a song simply by looking at its chords, you will know which scale to play on which chord progressions.
What are guide tones ? They are the notes in a chord which lead or give harmonic pull toward the next chord, these are an excellent way to study and absorb the sound of any chord progression. Guide tones are used to outline chord progressions in an improvisation. They are most of the time the 3rd and the 7th because this is what determines whether a chord is major, minor, or dominant.
By working on guide tones you’ll learn how to target important notes in each chord. This jazz guitar lesson explains how to solo over common jazz progressions using and connecting the guide tones.
Mastering arpeggios is inevitable for anyone who wants to improve its sense of improvisation and bring more musicality to its playing. Practicing and mastering them is a necessity for all jazz guitarists, these are great tools to improvise over chord changes or jazz standards.
What is an arpeggio ?
An arpeggio is a chord whose notes are played one by one, it is a chord played like a scale.
Why playing arpeggios ?
Playing them in your guitar solo will outline the harmony of the tune and give your improvisation a sense of direction, making your jazz lines more beautiful, more melodic, more interesting to listen to.
How to use arpeggios ?
The first rule is to play the arpeggio corresponding to its chord. For example, playing a D minor seventh arpeggio over a Dm7 chord or a G dominant 7th arpeggio over a G7 chord. You can also use them to add color to your solos by using substitutions (playing an arpeggio different from the chord). For example a Bm7b5 arpeggio over a G7 chord. This way you will highlight the 9th of G7. There are many possibilities, but this is not the aim of this lesson.
Drop 2 voicings are very commonly used in jazz. They've been used by great jazz guitar players of all time, as Wes Montgomery, George Benson, Joe Pass, Kurt Rosenwinkel, John Scofield and many more. Voicing is the practice of regarding the individual notes of a chord as voices. There are several voicing techniques that can be used to rearrange the notes of a chord (drop 3 or drop 2-4 voicings). This blog page is dedicated to the understanding of the drop 2 voicing technique only. Knowing how to play them across the guitar neck is very important, so in this lesson you will find minor seventh, major seventh, dominant seventh, diminished 7th and half-diminished voicings with diagrams to play them on the guitar.
Last edited: 08/01/2017