Analysis of "All The Things You Are"
Ludwig77
learning "All The Things You Are" and am finding it a fascinating
piece from a music theory perspective.
I thought I'd share my observations and solicit other's thoughts:
Here are the chord progressions interrupted with my comments at
appropriate times
fm Bbm Eb7 AbMaj7 DbMaj7
This section is vi ii V I IV in the key of AbMajor.
I could have thought of this part as being in the key of Fminor and
numbered the chords accordingly, but I tend to number chord
progressions from the relative major for minor keys. Does anyone else
do this or are there some who would prefer to think of this chord
progression as i iv VII III VI numbering from the relative minor?
G7 C
Interesting key change to C major using the tritone interval from
DbMaj7 to G7. I've read about the tritone substitution which would
normally use two dom 7 chords, but I'm not used to seeing a tritone
chord progression jumping off of a major 7th. Is this a common
occurrence? Is it ever used with minor chords?
Cm fm Bb7 EbMaj7 AbMaj7
This section is the same vi ii V I IV progression as the first 5
chords of the song, except now in the key of Eb Maj (C Minor). This
key change works because of the great sounding transition from C major
to Cminor. This seems to be a common method of changing keys, not just
in jazz but in other styles as well. I remember hearing Joe Satriani
change from a Major chord to the same chord played as a minor (I think
it was C Major to C Minor) in the song "Always With Me, Always with
You" It sounds great everytime I hear it.
D7 GMaj7
Just like the G7 C section earlier, the D7 is a tritone apart frmo the
preceeding Ab chord. This progression is in the key of G major
The next section goes into two ii V I chord progressions in two
different keys that are a minor third apart from each other:
Am D7 GMaj7
ii V I in the key of G major
F#m B7 EMaj7
ii V I in the key of E major. I don't know why it works to repeat the
same ii V I progression in a key that is a minor third below the
preceeding key, but it does nevertheless.
CAug7
Augmented triads are symmetrical chords. Therefore, CAug is the same
chord as EAug (and G#Aug). Since this chord only differs from E major
by one note, I can see why it works. However when you add a 7 to the
chord, you have two notes that differ from the preceeding E major
chord, however the 7th note of the CAug7 is simply a half step up from
the fifth note of the E triad.
fm Bbm Eb7 AbMaj7 DbMaj7
Next we're back into the same chord progression as in the beginning;
vi ii V I IV in the key of AbMajor.
Gb9 Cm7 Bdim7 Bbmin7 Eb7 AbMaj7
When I see a VII major chord, I immediately think mixolydian. That's
what the Gb9 does to the key of AbMajor. Cm7 is the iii chord, Bdim7
is a passing chord bridging the Cm7 to the Bbmin7 (ii chord). The last
three chords are a typical ii V I progression.
Any more thoughts or a different perspective on this song?
JP
> fm Bbm Eb7 AbMaj7 DbMaj7
>
Your correct but include the VImi7....so Vimi7..IImi7 ..V7...Ima7...IVma7
>
> G7 C
> Interesting key change to C major using the tritone interval from
> DbMaj7 to G7. I've read about the tritone substitution which would
> normally use two dom 7 chords, but I'm not used to seeing a tritone
> chord progression jumping off of a major 7th. Is this a common
> occurrence? Is it ever used with minor chords?
Sure tritones can happen with changing chord quality..however melody is
always a consideration if is fixed...
But here its really Dmi7b5 to G7 leading to Cma7.
(Chords borrowed from parrallel minor)
>
> Cm fm Bb7 EbMaj7 AbMaj7
> This section is the same vi ii V I IV progression as the first 5
> chords of the song, except now in the key of Eb Maj (C Minor). This
> key change works because of the great sounding transition from C major
> to Cminor. This seems to be a common method of changing keys, not just
> in jazz but in other styles as well. I remember hearing Joe Satriani
> change from a Major chord to the same chord played as a minor (I think
> it was C Major to C Minor) in the song "Always With Me, Always with
> You" It sounds great everytime I hear it.
You pegged it this time. Vimi7 II V I and IV up a 5th then key centre moves
up a major 3rd via another IImi7b5 V7....(Ami7b5 to D7)..
> The next section goes into two ii V I chord progressions in two
> different keys that are a minor third apart from each other:
>
> Am D7 GMaj7
> ii V I in the key of G major
>
> F#m B7 EMaj7
> ii V I in the key of E major. I don't know why it works to repeat the
> same ii V I progression in a key that is a minor third below the
> preceeding key, but it does nevertheless.
It works cause it is strong...as is the melody. No big rule or regulation..
We could talk about trong and weak root movements..but its all over analysis
i feel at this point.
>
> CAug7
> Augmented triads are symmetrical chords. Therefore, CAug is the same
> chord as EAug (and G#Aug). Since this chord only differs from E major
> by one note, I can see why it works. However when you add a 7 to the
> chord, you have two notes that differ from the preceeding E major
> chord, however the 7th note of the CAug7 is simply a half step up from
> the fifth note of the E triad.
And it the dominant of the chord were moving back to...so effective voice
movement tha leads us to the last 12.
>
> fm Bbm Eb7 AbMaj7 DbMaj7
> Next we're back into the same chord progression as in the beginning;
> vi ii V I IV in the key of AbMajor.
>
> Gb9 Cm7 Bdim7 Bbmin7 Eb7 AbMaj7
> When I see a VII major chord, I immediately think mixolydian. That's
> what the Gb9 does to the key of AbMajor. Cm7 is the iii chord, Bdim7
> is a passing chord bridging the Cm7 to the Bbmin7 (ii chord). The last
> three chords are a typical ii V I progression.
Whilst Gb9 is fine..i believe the most common root note there is Db making
more a Dbmi7. The sound is common as a cadence. Sounds like it would go
back to Ab however goes to a Vi chord...little difference. (deceptive
resolution)
Dont forget the form...its not the typical 32 bars you come to expect form
"Standards" of this era....an extra 4 bars tagged on.
Probably one of the most well known standards around...great that your inot
it.
cheers
IvanDRodriguez
get that serious, I get a headache.....LOL .
Ivan
David Kotschessa
> I'm just starting to study jazz seriously........I just started
> learning "All The Things You Are" and am finding it a fascinating
> piece from a music theory perspective.
I agree. I consider this song a fantastic gateway song to further
your jazz understanding. When I first learned it, I thought it was
one of the most complex pieces of music ever. I determined that if I
could really learn it an understand it, I would grow strong in my
understanding and improvising in general.
I turned out to be right. Once I got it a lot of other things fell
into place for me. It's one of my favorite tunes to play over.
> I thought I'd share my observations and solicit other's thoughts:
>
> Here are the chord progressions interrupted with my comments at
> appropriate times
>
> fm Bbm Eb7 AbMaj7 DbMaj7
> This section is vi ii V I IV in the key of AbMajor.
> I could have thought of this part as being in the key of Fminor and
> numbered the chords accordingly, but I tend to number chord
> progressions from the relative major for minor keys. Does anyone else
> do this or are there some who would prefer to think of this chord
> progression as i iv VII III VI numbering from the relative minor?
No, you did it correctly. Thinking of it as F minor would not have
been correct. While it is the relative minor of Ab, two things tell
me that it's Major
1) There is no C7 chord, and furthermore no Gmb5 C7 i (minor ii-V-i)
2) The blatant ii-V-I in Ab
> G7 C
> Interesting key change to C major using the tritone interval from
> DbMaj7 to G7. I've read about the tritone substitution which would
> normally use two dom 7 chords, but I'm not used to seeing a tritone
> chord progression jumping off of a major 7th. Is this a common
> occurrence? Is it ever used with minor chords?
The changes I know of at this point are: Dm7 G7 (two beats each) and C
- I guess it doesn't matter that much, keywise, but I think it's a
little bit more natural, you have DbMaj7 to Dmin7, notice the common
tones in both chords - F and C. Then the transition to G7 is not too
wierd.
> Cm fm Bb7 EbMaj7 AbMaj7
> This section is the same vi ii V I IV progression as the first 5
> chords of the song, except now in the key of Eb Maj (C Minor). This
> key change works because of the great sounding transition from C major
> to Cminor. This seems to be a common method of changing keys, not just
> in jazz but in other styles as well. I remember hearing Joe Satriani
> change from a Major chord to the same chord played as a minor (I think
> it was C Major to C Minor) in the song "Always With Me, Always with
> You" It sounds great everytime I hear it.
I'm not sure what it is called in jazz terminology, but when I was
learning music theory in High School and college this was called a
"Borrowed chord" since it is "Borrowed" from the minor key. Could be
called the same thing.
> D7 GMaj7
> Just like the G7 C section earlier, the D7 is a tritone apart frmo the
> preceeding Ab chord. This progression is in the key of G major
>
Again, the changes I know are Am7b5 D7 Gmaj. Common tones between
Abmaj7 and am7b5 are C and Eb.
> The next section goes into two ii V I chord progressions in two
> different keys that are a minor third apart from each other:
>
> Am D7 GMaj7
> ii V I in the key of G major
>
> F#m B7 EMaj7
> ii V I in the key of E major. I don't know why it works to repeat the
> same ii V I progression in a key that is a minor third below the
> preceeding key, but it does nevertheless.
Good point, I'm not sure either. The first thing that struck me when
I thought about it was the close bass movement in the roots of Gmaj7
and F#m7. Then I realized "duh" that the F# is a common tone to both
chords. Since it's 7th of the G, (which is a strong note) and the
ROOT of the F#, this could be all that's needed to tie them together.
Gives me something to think about.
> CAug7
> Augmented triads are symmetrical chords. Therefore, CAug is the same
> chord as EAug (and G#Aug). Since this chord only differs from E major
> by one note, I can see why it works. However when you add a 7 to the
> chord, you have two notes that differ from the preceeding E major
> chord, however the 7th note of the CAug7 is simply a half step up from
> the fifth note of the E triad.
Much too complicated for me. Think of it as C7b5, (same thing
enharmonically). What's neat about it, is that it has, like you said,
a lot in common with Emajor, but it ALSO creates a great deal of
Dominant tension to bring you back to the Fminor chord.
>
> fm Bbm Eb7 AbMaj7 DbMaj7
> Next we're back into the same chord progression as in the beginning;
> vi ii V I IV in the key of AbMajor.
>
> Gb9 Cm7 Bdim7 Bbmin7 Eb7 AbMaj7
> When I see a VII major chord, I immediately think mixolydian. That's
> what the Gb9 does to the key of AbMajor. Cm7 is the iii chord, Bdim7
> is a passing chord bridging the Cm7 to the Bbmin7 (ii chord). The last
> three chords are a typical ii V I progression.
>
> Any more thoughts or a different perspective on this song?
Again, the chords I know and believe are common are:
fm7 Bbm Eb7 Abmaj7 (no big deal here, A major)
DbMaj7 Dbmin7 Cm7 Bdim7 (note the borrowed chord idea again, Dbmaj7 to
Dbmin7)
Bbmin7 Eb7 AMaj7 (our home base ii-V-I of course)
I tend to think of individual chords starting around Dbmaj7. I guess
the whole thing might be a big fat turnaround in Amajor. Or,
Dbmin7 or Gb7(9) - temporarily leads us to B Major or Gb Mixolydian.
Cm7 - iii in Ab, like you said.
Bdim7 - passing chord, as you said also, or the tritone substitution
of the vi chord. Same thing I guess.
Then our ii-V-I. So I guess it's all "Sort of Ab."
This is fun isn't it? I'm totally for having threads dedicated to
analysing chord changes by the way. For those of us in a non-academic
setting or otherwise not surrounded by a lot of other
theory-knowledgeable musicians it's great.
By the way, the most beautiful solo to this song I've ever heard is
Paul Desmond's with the DB quartet. There's also the version with
Gerry Mulligan but not nearly as nice. In the first, I have no idea
what the hell he's doing. It's like he takes the song somewhere else,
completely outside of what you would expect hearing, yet with no
dissonance. It all sounds melodic and diatonic. It's not "outside"
as in playing outside the changes. I don't know how to explain it.
Just magic.
-Dave
Rick Del Savio
opposed to
say, the relative minor, A minor. Anyway.. Cheers, Rick (:)
--
Jazz Guitarist/Educator
Check out lessons and original music @
http://www.rickdelsavio.com
Jerry Carris
a bet about writting a song based on the circle of fifths.
Nice job.
I happen to have a block chord solo for this song if anyone is interested.
I have in Word Perfect Format but I can also scan it and email it a long
Jerry
Tom Lippincott
>Whilst Gb9 is fine..i believe the most common root note there is Db making
>more a Dbmi7. The sound is common as a cadence. Sounds like it would go
>back to Ab however goes to a Vi chord...little difference. (deceptive
>resolution)
That's a very common sound in standards from the "great American songbook."
It's basically a minor IV to major I progression, and is probably the second
most common progression you'll see in this sort of tune after V to I.
I think of the basic underlying harmony as Db melodic minor, Db, Eb, Fb, Gb,
Ab, Bb, C (the Dbm and/or Gb7 chords) to Ab major, Ab, Bb, C, Db, Eb, F, G (the
Cm7 chord; Cm7 is the IIIm chord in Ab major; a common diatonic substitute for
the Imaj chord.) This give you the smoothest voice leading between the two
keys; there are only two notes difference between Dbmelodic minor and Ab major
(the Fb and Gb in Dbmel vs. the F nat. and G nat. in Ab).
Of course, this also gives you a natural seventh (C) over the Dbmin chord, and
very often a b7 is added to the voicing. You can also use the Db dorian sound
here and it'll work just fine, but there you have three notes different instead
(adding the Cb) so the voice leading between the two harmonies will be ever so
slightly less smooth.
The Gb7 is simply the Db melodic minor sound, but using the Gb (4th note of
that scale) as the bass note of the chord instead of Db. From that scale, you
can take the notes Fb, Ab, C, and Eb (which form a maj7#5 chord) to use as the
upper stucture, and put any of the notes from Db melodic minor as a bass note,
and it will give the basic flavor of that particular mode.
For example, Fbmaj7#5 with a Db bass note will sound like the I chord,
Dbm/maj7.
Put a Gb bass note there, and you get the sound of the IVth chord, Gb7#11. It
will also work to use the notes Fb, Ab, Bb and Eb (which is Fbmaj7b5). Put
that chord over a Db bass note and you get a Dbm6/9 sound. Fbmaj7b5/Gb gives
you a Gb7(9,13) sound. All of these sounds are somewhat interchangeable.
One other thing to keep in mind about the Fbmaj7#5/b5 idea is that you can use
that idea for single lines as well as chord voicings. Arpeggiating those notes
will give you the flavor of that harmony in that spot.
BTW, also keep in mind that if you elect to use the dorian sound over the Db
minor, the Gb7 could be thought of as being from this same key (Cb major), so
those two sounds are interchangeable as well.
One other thing; I think of the Bdim chord as part of a I dim to I progression
rather than a "passing chord." It's probably a matter of semantics; either way
you think of it will probably get you the same sound, but that idea helps me to
easily categorize all the different sounds you run across in these standard
type tunes into 3 groups;
1) V to I
2) IVm to I
3) I dim to I
Once you break everything down into it's simplest form, these three basic
progressions cover anything I've ever seen in a "great American songbook" style
tune.
There's a more thorough explanation of this idea at my website in the articles
section under the title "the big 3 progressions."
Over all, for someone who is new to jazz I think the original poster did a
pretty impressive analysis here, by the way.
Tom Lippincott
Guitarist, Composer, Teacher
audio samples, articles, CD's at:
http://www.tomlippincott.com
David Kotschessa
> Hi David. C Major to C minor I've always called the parallel minor. As
> opposed to
> say, the relative minor, A minor. Anyway.. Cheers, Rick (:)
That's right... The borrowed chord concept only applies if you are
staying in the same key, but you change to a minor chord. Very common
with th IV chord. Sounds very sad :(
If it actually modulates, it's just a modulation to the parallel
minor.
-Dave