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Harmonica Lessons: "There Will Never Be Another You"

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[MUSIC]
This is a very,
very famous jazz standard called
There Will Never Be Another Other You.
And there's a very lovely
version of it done in the movie
The World According to Garp.
A very, very straight version of it.
The standard key for
this tune is E flat, but
what I've done here is to play it in D.
Cross harp on the G harp.
Just because I want to make
sure that all of you will have
the right key harmonica to play it.
Because cross harp in E flat
would be an A flat harp, and
I think that some of you probably
don't have an A flat harp.
Now this is an advanced tune in jazz.
[MUSIC]
If you look.
[MUSIC]
If you look in
the real book,
it's there.
Any jazz fake book has this tune.
It's got lovely lyrics.
[MUSIC]
And the original chord is.
[MUSIC]
But
jazz musicians go.
[MUSIC]
And
what I've done
on this tune.
Like I said, you can look up the chords.
Let me digress for a second.
They're pretty simple tunes.
They go to the relative minor.
[MUSIC]
Two five to B minor.
[MUSIC]
Then the two-five to the key to the four.
[MUSIC]
And then key of the seven.
In other words it's a C seven
with a sharp a flat fifth.
To the one.
It's a six.
Then the two, but it's a seventh chord so
it's not in the scale.
So.
[MUSIC]
You're gonna need to play an E seven
there.
[MUSIC]
But to play the melody.
You need a fifth hole overblow.
[MUSIC]
Pentatonic.
[MUSIC]
It's mostly in the major scale.
[MUSIC]
A very
beautiful melody.
It also works very well
in twelfth position.
Which I'll do in another lesson.
And the backing track that
I recorded to this requires
a little bit of a different
kind of listening.
Because one of the things that jazz
musicians do is they like to vary things
on a set and not have the band play
the same exact way all the time.
And sometimes, one of the ways in which
this occurs, especially with singers, and
we're kind of a singer here, is to start
a tune out with just the bass player.
So, for example,
I'm gonna ask my bass player here.
Here he is.
Mr. Wood Bass.
[MUSIC]
See I'm
playing it
simultaneously.
I don't expect you to do that.
But I'm hearing the chords.
You have to learn how to hear
the chords upwards from the roots and
from the baseline.
And you can listen to a lot of
jazz recordings of singers.
A lot of them will have
these type of introductions.
And then the band will come in.
But what I've done on the backing track
here is have an entire backing track
of just the bass.
And you, as the harmonica player, singer,
soloist, have to hear the chords
going upward from there.
And so now I'm going to perform
There Will Never Be Another You Along
with this track that I've laid down for
you.
And it is here, right on the little
computer with a little introduction.
[SOUND] The little four bar introduction.
[MUSIC]
Three, four.
[MUSIC]
This
would be
a nice one
for muted
trumpet that
could have.
[MUSIC]
The cup.
[MUSIC]
I wish I had one here.
[MUSIC]
I may dream a million dreams, but
how can they come true?
[MUSIC]
Cuz there will never ever be another you.
[MUSIC]
Good to know the words.
[MUSIC]
Standard
jazz
lick.
[MUSIC]
You get
bluesy.
[MUSIC]
I quoted
yesterday right
there, sort of.
[MUSIC]
That
was All of Me,
a little joke.
[MUSIC]
That was
Over the Rainbow.
[MUSIC]
That's
tagging.
[MUSIC]
Elongating.
[MUSIC]
I wouldn't normally
play a corny ending like that.
I'm just trying to show you
the structure of the tune.
I elongated it.
At first, I tagged it, then.
[MUSIC]
With a bluesy
inflation on
the end of
a seventh with
a sharp ninth.
So I'm trying to introduce you to a whole
bunch of different jazz conventions here.
Of tagging the tune.
Elongating the ending.
Just playing with the bass player and
hearing the chords.
And this is a very challenging thing.
One of the best musicians to play with
just a bass player, Sonny Rollins, does
some really classic stuff with pianoless
trios playing over chord changes.
Old Gerry Mulligan recordings.
Also he had a pianoless group with just
bass, drums, and other horn players.
So listen to those guys for some clues.
So I'm introducing you to a whole
other way of playing and of listening.
Okay? Good luck. [MUSIC]