All The Things You Are

Summary

Understanding the Basics: Key and Form

The Concert Key and Instrument Transposition

The first step in mastering any jazz standard is to identify its key. “All The Things You Are” is written in A-flat major for concert pitch instruments. For other instruments, such as alto saxophones (E-flat instruments), the key transposes to F major, and for B-flat instruments like tenor saxophones or trumpets, it becomes B-flat major.

Unusual Song Form

Unlike most jazz standards that follow 12, 16, or 32-bar forms, “All The Things You Are” has a 36-bar form. The structure can be viewed as an A-B-C format with the following bar lengths:

• A section: 16 bars
• B section (bridge): 8 bars
• C section: 12 bars

This extended form makes the tune unique and requires careful attention to the transitions between sections.

Harmonic Analysis: Decoding the Chord Progressions

The Cycle of Fourths and Fifths

The harmonic progression heavily relies on ascending fourths and descending fifths, a common motion in jazz harmony. For example:

• F to B-flat (ascending fourth)
• B-flat to E-flat (descending fifth)
• E-flat to A-flat (ascending fourth)

This cyclical movement forms the backbone of the harmony, providing a smooth flow through the different chords.

Secondary Dominants and Their Role

In “All The Things You Are,” certain chords act as secondary dominants, temporarily emphasizing chords other than the tonic. For instance, the G7 chord appears where a half-diminished chord would be expected in A-flat major. This G7 functions as a dominant targeting the C chord, adding tension and color to the harmony.

Tonicizing Chord Tones

A fascinating aspect of this tune is its harmonic movement through the chord tones of the tonic chord (A-flat major 7): A-flat, C, E-flat, and G. The progression often tonicizes each of these tones through dominant chords, enriching the harmonic palette.

Modulations and Key Centers

While mostly rooted in A-flat major, the tune features brief modulations:

• The bridge section shifts down a half step to G major.
• Then it modulates further down a minor third to E major.

These modulations add harmonic interest without fully leaving the original tonal center, requiring improvisers to be aware of changing key centers.

Melodic Analysis: The Role of Chord Tones and Color Notes

Emphasis on the Third of Each Chord

The melody of “All The Things You Are” predominantly features the third of each chord, emphasizing the chord’s quality and color. This creates a strong connection between the melody and harmony.

Color Notes: Notes Outside the Key

Certain chord tones lie outside the home key, providing tension and release. For example:

• G7 chord contains B natural and D natural, not found in A-flat major.
• D7 chord includes F-sharp and A natural, which are outside the A-flat major scale.

Targeting these color notes in improvisation adds emotional depth and harmonic sophistication.

Chromatic and Diminished Harmony

The tune includes a B diminished chord, which is a disguised F7 chord using the diminished scale (half-whole step pattern). This scale choice allows for chromatic bassline motions and altered tensions, creating smooth voice leading and harmonic interest.

Practical Exercises: Building Your Improvisation Skills

Root and Third Targeting Exercise

A fundamental exercise involves improvising using only the root and third of each chord. This limits note choices, helping you internalize the harmony and develop melodic ideas that clearly outline chord changes.

Exercise:

• Play half notes alternating between root and third with a metronome on beats two and four.
• Gradually add rhythmic variation once comfortable.

Voice Leading and Pivot Notes

Notice how certain notes, called pivot notes, are common between adjacent chords and help create smooth melodic lines. For example, the third and root of one chord often become the seventh and fifth of the next.

Writing and Using Dovetailing (Dovation)

Writing down the dovetailing—the relationship of each melody note to the chord tones—helps deepen your understanding of the melody’s function within the harmony. This practice supports better note choice during improvisation.

Transposition Practice

Transposing the melody and exercises into all 12 keys enhances fluency and prepares you for playing with different ensembles and in various contexts.

Tips for Effective Jazz Improvisation

Use a Metronome and Focus on Rhythm

Developing a strong sense of time is crucial. Practice with a metronome, focusing on feeling the beat on two and four to capture the swing feel essential in jazz.

Start Simple and Build Complexity

Begin improvising with limited note choices (root and third), and gradually add chord tones such as the fifth and seventh. This stepwise approach prevents overwhelm and builds confidence.

Incorporate Transcribed Phrases Thoughtfully

When studying a transcription, isolate a phrase you like and understand why it works. Practice it in different keys and apply it to similar chord progressions in your own solos.

Understand Chord Quality Through Melody

The quality of the chord (major, minor, dominant) is often determined by the melody’s third and seventh. Being aware of this guides your note choices in improvisation.

Common Challenges and How to Overcome Them

Navigating Unusual Forms

The 36-bar form of “All The Things You Are” may confuse players used to 32-bar standards. Break the tune into manageable sections (16, 8, 12 bars) and memorize transitions to maintain form awareness.

Handling Modulations

The brief modulations require you to shift your tonal center quickly. Practice scales and arpeggios in the modulated keys (G major and E major) to prepare for these changes.

Developing Swing Feel

For musicians coming from classical backgrounds, feeling the swing rhythm can be challenging. Slow practice with a metronome emphasizing beats two and four helps develop this essential jazz feel.

Summary and Homework for Jazz Improvisers

Key Takeaways

• Know your concert key and transpose accordingly.
• Understand the song’s unique 36-bar A-B-C form.
• Analyze harmonic progressions, focusing on cycles of fourths/fifths and secondary dominants.
• Identify and target chord tones, especially thirds, and important color notes.
• Use diminished scales for altered dominant chords.
• Practice improvising with root and third only, then expand.
• Transcribe and isolate phrases to incorporate into your playing.
• Develop a strong rhythmic sense with a metronome emphasizing beats two and four.

Practice Assignments

• Memorize the melody of “All The Things You Are.”
• Write down the dovetailing (relationship of melody notes to chord tones) for the tune’s first section.
• Improvise using only root and third of each chord with a metronome.
• Practice scales and arpeggios in the key and modulated keys (A-flat, G, and E major).
• Transcribe a phrase from a solo on this tune and practice it in multiple keys.

Mastering “All The Things You Are” is a journey that combines theory, ear training, and practical application. By breaking down its intricate harmony and melody and committing to focused exercises, you will elevate your jazz improvisation skills and deepen your musical expression. Keep practicing, stay patient, and enjoy the process of discovering the endless possibilities within this timeless jazz standard.