You 'N' Me – Al Cohn

Though obviously based on the standard Tea For Two, You 'N' Me is much more than just a "head." This song expands the original form of Tea For Two, taking most of the four-measure phrases and adding a measure at the beginning to create five-measure phrases. These phrases start with a break on the tonic chord, with a swinging descending line going into the II-V7 on the second measure. The second and third measures of each five-measure phrase have a hemiola of dotted quarter notes (the melody alternates quarter notes and eighth notes), which leads to a turnaround back to the tonic. The second phrase of the C section has this two-measure hemiola twice, the second time up a whole step to resolve to the II chord in the D section. The first phrase of the D section is the only four-measure phrase in the head, with the rhythm section swinging behind a rhythmic melody; the last phrase is the same as the second phrase of the A section. Despite the extended phrases and syncopations, the melody is still quite closely related to Tea For Two. Solos are on standard Tea For Two changes. There is a coda that tags part of the last melodic phrase with drum fills, up a minor third and then back in the original key. Our scores and parts show the key change where the B section modulates up a major third.

This original recording is in G♭—a challenging key for any instrument. First and second parts are available for the two-horn arrangement. The horns begin in unison, harmonizing on the hemiolas (the second part plays dotted quarter notes) but returning to unison for the long note at the end of each phrase. The D section is harmonized tightly in contrary motion: half steps resolving to fifths or sixths. There is a "shout chorus"—actually half a chorus—after the solos, in which the horns hocket, or alternate short phrases, to create a four-measure melodic line and then play unison for four measures. This line then repeats up a major third, returning to the out melody at C. The shout section is on standard Tea For Two changes with four-measure phrases, but with a chromatic approach II-V7 from above in the fifth measure of each section (for example Am7-D7 to A♭m7-D♭7).