There will never be another you (by Stochelo Rosenberg, from the album “Seresta”)

Transcribed by
martijn.schutten@planet.nl

We start with a Dmaj9 arpeggio lick. You can also hear this lick as part of a theme on two
songs on the CD “Elegance” (with Romane).

Play B harmonic minor over F#7 (F#7 is the fifth (= dominant) of B). We could ignore the
C#m7b5 since it can be substituted by F#7, which follows it.

A lick in Bm, starting on the 2nd of Bm (C# note)

Next, a Am7 lick. Note that D7 is just a substitution of Am7 so we can also play this lick on
D7.

1
A G major arpeggio followed by a similar G minor arpeggio. The G minor can be played
since it is a substitute of C7.

Simply a Dmaj7 arpeggio, followed by a Bm7 lick. Note that since a Bm is a substitute for D
major, we can also play the Bm7 lick over D major.

Starting with chromatic passing tones, a diminished line, ending in E (the root note of the
cord).

2
A diminished arpeggio that goes to one of the notes of A7 (in this case, E). When targeting a
note from A7, you can use a diminished arpeggio which is half a step below the ´normal´
diminished chord you would use (in this case, Bbdim, which is the same as A7b9), since you
can usually play a dominant 7 chord half a note above or below the dominant 7 chord, before
going to the dominant chord, in the progression.

A D major arpeggio, followed by a F#7 lick. Remember, when e.g. C#m7b5 and F#7 are
played, you can omit (forget about) the C#m7b5.

It is followed by a Bm9 arpeggio. As you can see, he uses arpeggio’s a lot, usually with finger
settings like Django, but using the third finger instead of the second when that’s more
practical.

3
A lick over Am7 or D7; they can be played on both chords since D7 is a chord substitution of
Am and Am is a chord substitution of D7.

Next, a Bm6 arpeggio over E7, followed by a Bbm6 lick over A7 (adding a minor 6 chord
half a note above the dominant chord makes it an altered dominant chord). Note that such a
II7-V7-I progression is used a lot, so this combination of arpeggios can be used a lot.

From the dominant chord A7 to Dmaj7 using the same lick: the chords contains almost the
same notes: C# is a maj7 and E is a second (= 9th) of D major so we get Dmaj9; playing this
same lick over A7, we get a A13 (F# note is a 6th). When still in D major, we anticipate on the
dominant chord that is about to come, and thus we play notes from a diminished chord
(including chromatic notes).

4
Bm arpeggio lick

Am7/D7 lick, following our familiar Am7 shape in the 12th position, followed by the D7
shape in the 10th position. Stochelo (and many other gypsy jazz players) uses these shapes a
lot. This can be played over Am or D7 (or both, as in this solo). Since it is a ii-IV-I
progression, we next get the (connected) Gmaj9 arpeggio, and a Gm6 over C7 (chord
substitution principle). Notes from Gmaj9 are still played the first count of C7.

5
For playing over Dmaj7, Stochelo uses a similar to the previous D7 bit slightly different shape
to play the major 7:

Over E7, an E7 arpeggio:

Over A7, a combination of E7 (tritone substitution), Bb dim and A7 arpeggio’s.

6
The next time Stochelo plays the Am7-D7-Gmaj7 progression, you can see he starts to play a
scale around the Am shape in the 5th position, and over D7, is already playing the G arpeggio,
since the D7 is the dominant chord, which wants to resolve to the G. The fingersetting
indicated here is Django-like, using two fingers, for ease of playing.

When playing the II-V-I, Stochelo plays a Bm6 lick over E7, a Bbm6 lick over A7 (tritone
substitution = Eb7 so you can play Bbm6), resolving to Dmaj7. You can also play these kinds
of licks (using these three chords) when just playing the Dmaj7, as long as this resolves
(Django also uses tricks to introduce extra dominant chords, e.g. when a Dmaj is played, he
first plays an A7 lick followed by a Dmaj lick, or a E7 (dominant of A7), followed by A7
(dominant of D), followed by Dmaj7, getting a very jazzy sound.

7
When A7, the dominant is played, we can also play the root chord to which it wants to
resolve, creating a nice effect by repeating a lick, as in the following example. It is followed
by notes from the Bm harmonic scale (the C#m7b5 and F#7 want to resolve to Bm).

Stochelo, similar to one of the previous lines over over Am7-D7-Gmaj7, plays the next
variation

8
D major arpeggio lick in the 14th position, followed by a lick similar to the one we have seen
before on the subdominant (C#m5b5) and dominant (F#7) chord, followed by a Bm arpeggio
over Bm.

9
On the next II-V-I (E7-A7-Dmaj7), Stochelo stays in the E7 lick on A7. Next, he plays notes
from the D major scale, repeating each last note, preceeded by an eighth rest, creating a very
swinging feeling.

In the next measures, this last trick is repeated. You can see the dim-shape when C#m7b5 and
F#7 are played.

Another line over A7, using an Bbdim arpeggio, starting with the tritone of A (Eb note).

10
D major lick (the B note here is a 6th of D, which is usually okay to play over a major chord),
followed by another dim lick over the subdominant and dominant.

To end the solo, Stochelo plays the ii-V-I lick he also played over Am – D7 and Gm7 – C7.

11