Hello all,
Happy New Year filled with Music 
I really enjoy the lesson on Harmonic Analysis with the tune “There will be another you”.
Is there any other scheduled lessons like this tackling chords relationships? I couldn’t find any other but find those harmonic insights super useful to memorize and transpose standards and would love to have more 
Thanks!
Hi Agnes,
Happy very new year to you too!
That is the only lesson that i have created analysing harmony in such detail.
However, if you like to learn about chord relationships, check out Tuomo’s jazz standard lessons.
@Tuomo plans his jazz standard lessons different to me. He always starts by analysing the harmonic function and relationship of every chord, and then he moves onto the arrangement.
His lessons and arrangements are definitely at the advanced end of our syllabus, but from the sounds of it, how I think Tuomo’s harmonic analysis should be exactly what you’re looking for.
Thank you Hayden for the links, just checked out Emily and Manhattan. I really like You must believe in spring analysis too.
Do you plan to create more harmonic analysis lesson? I really like the visual layout and the details you went into in your “There will never be another you” lesson and find that knowledge very valuable to memorize structures and being able to transpose quickly.
Is there some recommended tunes to analyse that could cover a great deal of the most common turnarounds/modulation/progression in a way that knowing a few of them give us the bolts and nuts of how to identify and analyse harmony on our own?
Thank you!
Hi Agnes 
Yes one of the reasons that I choose “There Will Be Another You” is that it contains so many of the most common harmonic elements found in jazz standards.
It really is a great tune to study and transpose around all 12 keys.
Yes I will find some other jazz standards which contain important changes and make similar lessons in the same format. Creating the graphical element/graphical narrative is super time consuming, but I’m more than happy to do this if our students find it valuable, so thanks for letting me know.
I will think of a short list of potential tunes, and then post them in this thread for us to decide which ones to cover 
Thank you Hayden for your message 
Yes that would be awesome to have other great harmonic analysis with your graphical narrative and notations that really help in visualizing the structure!
I’m currently trying to apply a similar analysis on Days of wine and roses and I found it challenging to understand the changes. For instance in the 2nd measure, I feel like we have a bVII7 that could make it think of a backdoor progression as in There will never be another you but it doesn’t resolve to the I and measure 3,4,5 , it’s a minor 251 but the 2 is not half-diminished 
In any case, it’s really opening a new perspective and I am looking forward to learning more on harmony 
Thanks again 
Yes fantastic recommendation.
It’s one of my favourite tunes, and so yes let’s definitely cover this one for a harmonic analysis series.
Always check the iRealPro for alternate change, generally it’s more reliable than the Real Book and it often shows alternate changes too.
Leave this with me Agnes and I will certainly cover it.
It would be a good exercise for myself too as I was wanting to play this with @Lyndol but the original key of F does not fit her vocal range too well.
Learning the numerics is the key to effective transposition.
Cheers!
H
Awesome thank you Hayden, super looking forward to this harmonic analysis series
Good to know that iRealPro is more reliable, it’s indeed a great tool!
Hello @agnes here’s a link for the harmonic analysis of days of wine and roses
Yes the Eb7 is the tritone substitution going to the VI , I m still learning and sometimes i am blocking on one chord too. A good way I find is to just ignoring it , and coming back after a while on it . Sometimes even simple things dont comes out at first sight . On this tune lot of subdominant 251 that can lose us. Thinking those transitory key , looking for 251 from different keys, often give us the solution .
In days of wine and roses in the first subdominant minor 251 (Am7 D7b9 Gm7) the IIm is not IImb5 can already confusing !! , Often instead of 7mb5 we could find minor7, instead of m7 a dominant 7, sometimes 7 becomes major . But the ears often are not surprised even the Theory is not respected 
. Another point is the we could have different analysis of the same chord progression from different people , which could be both right just different point of view .
Hope it could help
