All The Things You Are

17/11/2018 All The Things You Are - Chord/Melody, Analysis & Guitar Examples
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ALL THE THINGS YOU ARE

written by Matt Warnock & Dirk Laukens
a d t
ll the Things You Are (Jerome Kern) is one of the most commonly played jazz
A standards and is often one of the rst tunes called at a jazz jam session.
Because of the tune’s popularity, many guitarists learn to play All The Things
You Are at a fairly early stage in their development. What most guitarists fail to realize
is that the piece actually has a fairly intricate harmonic structure that can pose quite
a few problems for the beginning improviser or comper.
https://www.jazzguitar.be/blog/all-the-things-you-are/ 1/40
By understanding the relationship between each section of the tune, and the chords within LATEST LESSONS
those sections, you can develop a greater appreciation for the overall formation of the
harmony, which will allow you to better navigate the changes in both a solo and chordal Grant Gree
fashion.
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And Solos
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How To Pla
Guitar in T
Django Re
The Contents Of This Lesson

Diminishe
1 All The Things You Are – Charlie Parker Intro
2 All The Things You Are – Chord/Melody Arrangement

10 Essential Jazz Guitar Cho
3 All The Things You Are – Backing Track
4 Key Center Breakdown
A Section – Bars 1 to 8 How to Re

and Lead S
A’ Section – Bars 9 to 16
B Section – Bars 17 to 24
A” Section – Bars 25 to 36
Jazz Funk
5 Roman Number Analysis
Tritone Su
6 Common Chord Substitutions
7 Soloing Tips
Chet Baker Lick 1 Blues Sca

and Minor
Chet Baker Lick 2
Bars 29-32 Lick 1
Bars 29-32 Lick 2
Bars 29-32 Charlie Parker Lick FOLLOW US
8 More Jazz Standards

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FOLLOWERS FOLLOWERS
ALL THE THINGS YOU ARE – CHARLIE PARKER INTRO

POPULAR LESSONS
The Begin
Guitar Mod
Charlie Parker - All the Things You Are
Jazz Chord
7 Essentia
Scales For
Blues Sca
and Minor
"The Lick"
To begin this lesson, we’ll start with the famous intro Charlie Parker played on his
recordings.
Summerti
The intro starts on Db7#9 (tritone substitution of V/V), and then goes to C7#9, the V of the Solo Study
rst chord of All The Things You Are (Fm7).
Here’s how you play it on guitar:

Guitar Arp
Beginners
How To Pla
Arpeggios
How to Us
Minor Sca
ALL THE THINGS YOU ARE – CHORD/MELODY ARRANGEMENT George Be

Guitar Lick
Here is a chord/melody arrangement of the theme.

Backing Track CATEGORIES
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158
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132 Arpeggios
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Gypsy Jazz Guitar
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Latin Guitar
Licks
Music Theory
Practicing
Reviews
Scales
Soloing
Video
ALL THE THINGS YOU ARE – BACKING TRACK
Here is a backing track to help you get ATTYA’s chord changes in your ears and to improvise
over. The backing track is done with Band in a Box, a great piece of software that lets you
create backing tracks on the y.
All The Things You Are Play-Along Backing Track
ALL THE THINGS YOU ARE – KEY CENTER BREAKDOWN
All the Things You Are can be divided into four sections, with the rst two being sub-sections of
one larger section:
A Section
The rst section of the tune contains bars 1 to 8 and is labeled A.
A’ Section
This is followed by another eight-bar phrase that we will label A’. The ‘ symbol is used to
di erentiate this section from the rst, as they are both very similar, but as you will see, they
are in di erent keys.
These rst two sections can also be thought of as the rst “half” of the tune. In classical
music, they would be called the exposition.
B Section
The third section contains bars 17 to 24 and will be labeled B. The B section is the
“contrasting” section as it uses di erent keys and a di erent melody line than the other three
sections.
In classical music, this section would be called the development section.
A” Section
The last section of the tune is similar to the rst, though just a bit di erent, so we will label it
A’’.
This section is used to “wrap” up the rst two sections by restating the melody line in bars 25
through 29, before presenting new material that leads to the nal cadence in bars thirty-
three through thirty- ve. In classical music, this section would be called the recapitulation.
A Section – Bars 1 to 8
There are two key centers found within the rst eight bars of the tune, Ab and C:
There are two key centers found within the rst eight bars of the tune, Ab and C:
The rst ve bars contains a 6-2-5-1-4 progression in the key of Ab.
This is followed by a 2-5-1 progression in the key of C.
Even though these chords are in two di erent keys, the fact that they are a half-step apart
makes for a smooth modulation.
A’ Section – Bars 9 to 16
The next eight bars have a similar key structure as the rst eight, though this time the two
keys being used are Eb and G:
The rst ve bars of this section is a 6-2-5-1-4 progression in the key of Eb.
This is followed by a 2-5-1 progression in the key of G to nish the section. This is the
same chord progression we saw in the rst eight bars, only now it has been transposed
down by the interval of a perfect fourth.
Thinking of the second eight bars as a transposed version of the rst eight will allow you
to develop motivic ideas over the rst half of the tune. Anything you play over the rst eight
bars can be played over the second eight bars, just a fourth lower, or a fth higher
depending on how you want to think about it.
See the examples below for a sample of how this could be done. Notice how the ngering
and the intervals are the same between the two lines, the second motive has just been
moved up the neck to t the new key center.
Bars 1 – 4
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Bars 9 – 12
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B Section – Bars 17 to 24
Bars seventeen through twenty-four are often referred to as the “bridge” section of All The
Things You Are, since the melody line has changed and we are now dealing with two new key
centers.
Bars seventeen through twenty-four are often referred to as the “bridge” section of All The
Things You Are, since the melody line has changed and we are now dealing with two new key
centers.
A” Section – Bars 25 to 36
The rst ve bars of this section repeat the same progression from bars 1-5 of the A
section, before moving on to new material in bar 30.
The second four bars of this section, 29-32, contain an idiomatic jazz progression that is
commonly found throughout the jazz standard literature, IVmaj7-IVm7-IIIm7-bIIIdim7. The
progression starts with a IVmaj7 chord in bar 29, which then becomes a IVm7 chord, before
moving down to IIIm7 and nishing on a bIIIdim7 chord.
After the descending section, the tune nishes with a 2-5-1 in the tonic key of Ab.
Again, the last bar of this section contains a short 2-5 in F minor, as we saw at the end of the
bridge. This is used to turn the tune around to the rst chord at the top of the form, Fm7.
The bIIIdim7 (Bdiim7) chord then resolves down to the IIm7 (Bbm7) chord in bar 33. Being
able to convincingly comp and solo through this section of the tune will not only help you
with AATYA, but will give you a leg up on other tunes that contain this, or fragments of this,
progression.
ALL THE THINGS YOU ARE – ROMAN NUMERAL ANALYSIS
Below is a Roman numeral analysis of All The Things You Are.
Notice how similar each section is to the other sections of the tune:
If we take out the key centers, the rst eight bars have exactly the same numerals as
the second eight (6-2-5-1-4-2-5-1).
The rst three bars of the bridge have the same numerals as the second half of the
bridge.
The last A section starts with the same numerals as the rst A section.
Knowing the Roman numerals will not only help you to understand the harmonic structure
of AATYA, it will also help to transpose this tune into other keys. It gives you an idea of how
important certain progressions are in the jazz idiom, such as the 2-5-1 chord progression,
which occurs ten times during the thirty-six bars of ATTYA.
If you are having trouble remembering the Roman numerals to this, or any tune, try saying
them out loud as you are practicing the piece. Don’t worry about the quality of the chord
(m7, maj7, etc), just focus on remembering the numbers.
ATTYA COMMON CHORD SUBSTITUTIONS
As well as playing the original chord changes to ATTYA, there are a couple of commonly
used chord subs that you can learn and apply to both your comping and soloing phrases
when jamming on this jazz standard.
You can see the added chord subs written in red in both examples below.
Chord Subs 1
In this chord sub, which you can see and apply in bars 7 and 8 of the rst A section, you will
climb up the diatonic chords, Cmaj7-Dm7-Em7, before moving down chromatically to the
next chord in the tune, Cm7 in bar 9 of the tune.
Chord Subs 2
The second chord subs appear at the end of the second A section, in bars 15 and 16. Here,
you will play a common turnaround that starts on the Imaj7 chord and then moves up to
the iim7, then the iiim7 chords, before sliding down chromatically through the biiim7 chord
to the iim7 chord at the start of the B section.
Here are those two common ATTYA chord subs on paper. After you have looked them over,
and listened to the audio example, try comping over ATTYA and inserting these changes
into your playing in order to feel and hear how they sound in a musical situation.
Here are those two common ATTYA chord subs on paper. After you have looked them over,
and listened to the audio example, try comping over ATTYA and inserting these changes
into your playing in order to feel and hear how they sound in a musical situation.
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ATTYA SOLOING TIPS
Since there are so many 2-5-1 progressions in All The Things You Are, it might be a good
idea to check out the licks in this lesson: 2-5-1 Jazz Guitar Licks
Chet Baker 2-5-1 Lick 1
Here are 2 Chet Baker examples over the VI II V I progression starting on bar 9.
In this rst lick, Chet Baker plays an Abmaj7 arpeggio over Fm7, resulting in a minor 9
sound:
Abmaj7 Arpeggio Ab C Eb G
Played over Fm7 b3 5 b7 9
On the next chord (Bb7), he switches to an Ab7 arpeggio, emphasizing the b13:
Ab7 Arpeggio Ab C Eb Gb
Played over Bb7 b7 9 4 b13
126 1614
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Chet Baker 2-5-1 Lick 2
In this second lick, Chet Baker plays an Fm7 arpeggio over Fm7, and a Dm7b5 arpeggio over
Bb7:
Dm7b5 Arpeggio D F Ab C
Played over Bb7 3 5 b7 9
86 1383
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Bars 29-32 Lick 1
When I teach this song to younger or less experienced players they usually have trouble
navigating through bars 29-32, the descending chord section. Most of these players try and
navigate through the changes using big, bulky two-octave scales and arpeggios which cause
them to be late on the next chord, or not get there at all.
Instead of trying to work out larger groupings of notes over this section, I’ve found that it can
be bene cial to pick a short four to six-note motive to base ideas of during this section.
In the rst example, we have a motive built of the one-octave arpeggio for each chord. I’ve
switched up the rhythm a bit to avoid running eighth notes, but have kept the same rhythm
over each chord to make give the line a sense of melodic and rhythmic continuity.
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Bars 29-32 Lick 2

In the second example I have kept the same rhythm but instead of using the 1 3 5 7
arpeggio, the line is based on the 3 5 7 9 arpeggio of each chord. This type of arpeggio
comes in handy when playing with a bass player or another comping instrument, as the root
is already being heard and therefore we do not have to reiterate it in our lines.
In the second example I have kept the same rhythm but instead of using the 1 3 5 7
arpeggio, the line is based on the 3 5 7 9 arpeggio of each chord. This type of arpeggio
comes in handy when playing with a bass player or another comping instrument, as the root
is already being heard and therefore we do not have to reiterate it in our lines.
When playing 3 to 9 arpeggios, you are using arpeggios you already know in a new
situation, which you can see in the text below each bar of the melodic pattern.
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Bars 29-32 Charlie Parker Lick
Here’s an example of what Charlie Parker plays over these chords.
Notice that he plays a b9 as a passing note over the Cm7, and not the natural 9. This is
because Cm7 is the III in the key of Ab major, which contains a Db, not a D.
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FURTHER STUDY
Now that you have a better understanding of the harmonic layout of All the Things You Are,
try and analyze other jazz standards in a similar fashion. Being able to quickly recognize key
centers, and short excursions outside of the main key areas will make sight-reading any tune
a breeze.
Try writing out the key and Roman numeral analysis for one of your favorite standards,
then once you feel con dent enough, try calling out the names of the chords and their
function without writing them down. Having an understanding of any tunes harmony will
make your solos have a deeper connection to the tune.
More Jazz Guitar Standards
1 Jazz Standards Index
2 Autumn Leaves
3 Summertime
4 Four on Six
5 Fly Me To The Moon
6 Misty
7 Stella By Starlight
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SHARES
ALL THE THINGS YOU ARE CHARLIE PARKER CHET BAKER CHORD MELODY II V I LICKS JAZZ ANALYSIS
RELATED LESSONS
10 comments Top rated comments rst
Enter your comment...
Kaleung
In here I can learn something useful to complete my performance~
Vote: 0 Reply to Kaleung
ralz
Jazz can seem like a maze to player like me that’s why I appreciate these lessons so
much !
Vote: 0 Reply to ralz
Dirk Laukens
Thanks for the appreciation, Ralz!
Vote: 0 Reply to Dirk Laukens
Norman
Norman
Thank you very much
Vote: 0 Reply to Norman
Dirk Laukens
You’re welcome!
Vote: 0 Reply to Dirk Laukens
simon
You are an absolute star for preparing this much to be learn from lesson. Many thanks for
London
Vote: 0 Reply to simon

Erwin
There are many analyses of ATTYA on the web, but non as clearly as this one. Very
helpful!
Vote: 0 Reply to Erwin
Jan
Very nice. This analysis makes improvising over this song a lot easier. All the hard work is
done. I’m going to study and use it right away.
Thank you Matt and Dirk for this lesson.
Vote: 0 Reply to Jan
Rob
Great, Thank You.
Vote: 0 Reply to Rob
Brock Qualls
This type of analysis if outstanding; especially for people like me who seem to never nish
a tune and don’t know why. The ear is good but for me this opens my eyes to how other
creative types think about the tune and why. OMG, where was this understanding when I
was 20?
Vote: 0 Reply to Brock Qualls
Add your comment...
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17/11/2018 All The Things You Are - Chord/Melody, Analysis & Guitar Examples

The Contents Of This Lesson

2 All The Things You Are – Chord/Melody Arrangement

3 All The Things You Are – Backing Track

4 Key Center Breakdown

A Section – Bars 1 to 8 How to Re

5 Roman Number Analysis

Chet Baker Lick 1 Blues Sca

Bars 29-32 Lick 1

Bars 29-32 Lick 2

Bars 29-32 Charlie Parker Lick FOLLOW US

8 More Jazz Standards

ALL THE THINGS YOU ARE – CHARLIE PARKER INTRO

Here’s how you play it on guitar:

ALL THE THINGS YOU ARE – CHORD/MELODY ARRANGEMENT George Be

Here is a chord/melody arrangement of the theme.

Backing Track CATEGORIES

Listen & Play Along Chord-Melody

Gypsy Jazz Guitar

Jazz Guitar Gear

Jazz Guitar Players

ALL THE THINGS YOU ARE – BACKING TRACK

All The Things You Are Play-Along Backing Track

ALL THE THINGS YOU ARE – KEY CENTER BREAKDOWN

The rst section of the tune contains bars 1 to 8 and is labeled A.

In classical music, this section would be called the development section.

The rst ve bars contains a 6-2-5-1-4 progression in the key of Ab.

This is followed by a 2-5-1 progression in the key of C.

ALL THE THINGS YOU ARE – ROMAN NUMERAL ANALYSIS

Below is a Roman numeral analysis of All The Things You Are.

ATTYA COMMON CHORD SUBSTITUTIONS

ATTYA SOLOING TIPS

Chet Baker 2-5-1 Lick 1

Played over Fm7 b3 5 b7 9

Played over Bb7 b7 9 4 b13

Chet Baker 2-5-1 Lick 2

Played over Bb7 3 5 b7 9

Bars 29-32 Lick 1

Bars 29-32 Lick 2

Bars 29-32 Charlie Parker Lick

Here’s an example of what Charlie Parker plays over these chords.

More Jazz Guitar Standards

1 Jazz Standards Index

5 Fly Me To The Moon

a Facebook d Twitter W Flipboard ] Mix s Print & PDF t Subscribe 299

10 comments Top rated comments rst

Enter your comment...

In here I can learn something useful to complete my performance~

Vote: 0 Reply to Kaleung

Vote: 0 Reply to ralz

Thanks for the appreciation, Ralz!

Vote: 0 Reply to Dirk Laukens

Thank you very much

Vote: 0 Reply to Norman