All the Things You Are
Form and harmony
Its verse is rarely sung now, but the chorus has become a favorite with singers and jazz musicians. The chorus is a 36-measure AA2BA3 form with two twists on the usual 32-bar AABA song-form: A2 transposes the initial A section down a fourth, while the final A3 section adds an extra four bars.
Note: The harmonic analysis demonstrates a functional chord progression using the circle of fifths. This type of progression generally relies on the roots of the chords being a 4th apart. Taking the main key of measures 1 to 5 as A-flat major, the chords can be considered as vi - ii - V - I - IV in A-flat major. (Fm7 is the sixth degree in A♭; B♭m7 is second degree in A♭, etc.) Using a delay cycle, D♭ being the tritone substitution for G7, the last 3 bars of the A section modulates to the key of C major temporarily.
The chords of the A2 section precisely echo those of the initial eight measure A section, except the roots of each chord in the initial A section are lowered (transposed down) by a perfect 4th. Thus, Fm7 in A becomes Cm7 in A2, B♭m7 becomes Fm7, E♭7 becomes B♭7, etc. In the same vein, the melody sung over A2 is identical to the A section melody, though every note is also lowered by a perfect 4th.
The bridge of this piece, section B, is another example of a functional chord progression in the keys of G major and E Major. In bars 1-4 of this section, it is a simple ii–V–I progression. Using a common chord substitution, the F♯º chord in measure 5 functions as viiº in the key of G major and iiº in the key of E minor. Then using simple modal mixture, the B7 chord is used to bridge from E minor to E major in bar 7. (Note: although there is no E minor chord in the composition during this section, it is important to note the relationship of the F♯º chord to E major. Without the technique of modal mixture, the use of major tonalities and minor tonalities simultaneously, E minor & E major, the F♯ would have been simply minor and introduced an additional pitch, C♯ to the harmony.) The E major 7 voice leads smoothly to C7 altered; for example, lowering the B to B♭ forms Emaj7♭5, or rootless C7♯5♯9.
The first five measures of A3 are identical to the initial 8 measure long A and A2 sections. In the 6th measure, A3 takes a new path that does not come to an end until the 12th measure of the section. The G♭7 or D♭ minor chord in measure 6 is a borrowed chord from A♭ minor.
The modulations in this song are unusual for a pop song of the period and present challenges to a singer or improviser, including a semitone modulation that ends each A section (these modulations start with measure 6 in the A and A2 sections and measure 9 of the A3 section), and a striking use of enharmonic substitution at the turnaround of the B section (last two measures of the B Section), where the G♯ melody note over a E major chord turns into an A♭ over the F minor 7 of measure 1 of section A3.
Because of its combination of a strong melody and challenging but logical chord structure, "All the Things You Are" has become a popular jazz standard. Its changes have been used for such contrafact tunes as "Bird of Paradise" by Charlie Parker, "Prince Albert" by Kenny Dorham, and "Boston Bernie" by Dexter Gordon. "Thingin'" by Lee Konitz introduced a further harmonic twist by transposing the chords of the second half of the tune by a tritone.
The verses start with these lines:
- Time and again I've longed for adventure
- Something to make my heart beat the faster
- What did I long for, I never really knew
- Ella Fitzgerald - Ella Fitzgerald Sings the Jerome Kern Song Book (1963)
- Chet Baker
- Dave Brubeck with Anthony Braxton and Lee Konitz – All the Things We Are (1974)
- Larry Coryell – Shining Hour (1989)
- Tommy Dorsey with Jack Leonard (1939)
- Stan Getz
- Dizzy Gillespie with Charlie Parker (1945, 1953)
- Johnny Griffin with John Coltrane and Lee Morgan – A Blowing Session (1957)
- Keith Jarrett – Standards Vol. 1 (1983)
- Modern Jazz Quartet
- Brad Mehldau – Art of the Trio 4: Back at the Vanguard (1999)
- Gerry Mulligan – Mullenium (1977)
- Charlie Parker with Miles Davis – "Bird of Paradise" (1947)
- Art Pepper
- Sonny Rollins and Coleman Hawkins with Paul Bley – Sonny Meets Hawk! (1963)
- Gonzalo Rubalcaba with Charlie Haden and Paul Motian – Discovery (1990)
- Bud Shank
- Artie Shaw with Helen Forrest (1939)
- Woody Shaw with Bobby Hutcherson – Night Music (1982)
- Carly Simon - Moonlight Serenade (2005)
- Lennie Tristano
- Phil Woods with Vincent Herring and Antonio Hart – Alto Summit (1995)
- "Jerome Kern" Archived 2016-12-25 at the Wayback Machine. Songwriters Hall of Fame
- Gioia, Ted (2012). The Jazz Standards: A Guide to the Repertoire. New York City: Oxford University Press. pp. 15–17. ISBN 978-0-19-993739-4.
- Paymer, Marvin E.; Post, Don E. (1999). Sentimental Journey: Intimate Portraits of America's Great Popular Songs, 1920–1945. Noble House. pp. 369–. ISBN 978-1-881907-09-1. Retrieved 21 August 2016.
- "All the Things You Are". www.jazzstandards.com. Retrieved 5 October 2018.
- Yanow, Scott. "Shining Hour". AllMusic. Retrieved 5 October 2018.
- Yanow, Scott. "Mullenium". AllMusic. Retrieved 5 October 2018.