All The Things You Are

**mr. beaumont** · 06-13-2011, 12:26 PM

I gotta listen again myself...do I do the little "descending triplet pulloff?" that's a Jerry lick that never goes away.

And any Django-ism's you hear are really Jerry-isms. Jerry loved Django, I heard Jerry years before I ever heard Django...so I'm ripping off Jerry ripping off Django, for the most part.

I was actually amazed when I started getting into gypsy jazz last year how nicely Jerry Garcia licks translate to that style of music...everything is everything, y'know? Thanks Lauren Hill.

**gingerjazz** · 06-13-2011, 07:05 PM

Holy crap;;;mr b ,that is one moving piece of music and i want to thank you for the inspiration,i need to go practice.As it says in victor wootens book that i just read,"boy do i have a lot to learn"take care man and peace.

**brwnhornet59** · 06-13-2011, 09:44 PM

Nice job Jeff. I have been working on that tune as well. I play 1st verse last verse, Affettuoso, with swing in between. Thanx for posting.

Roll away the dew Brother, Franklin's Tower awaits us all.

**wizard3739** · 06-16-2011, 01:06 PM

Very, very nice Mr. B!! I love your tone and the way you express yourself with your chord melodies. It really a treat for me to see your good videos and gain some insight into the way you put together your chord voicings. I'm sorry I can't offer any advice on the video approach, I am a novice on video stuff (just bought a low cost camcorder to learn how to do videos).

wiz

**mr. beaumont** · 06-17-2011, 11:50 AM

Thanks Jake and Matt.

Yeah, for the first time in a long time I am completely happy with my tone. Now to work on being completely happy with my playing (which I assume will take longer but cost less!

)

**Merton** · 08-21-2012, 11:33 AM

What other tunes feature the IV / iv / iii / flat iii dim progresson found towards the end of ATTYA?

**Drumbler** · 08-21-2012, 04:14 PM

Check out the late Ralph Patt's site for similar progressions in tunes: The Tonal Centers Page

**JanLF** · 10-26-2012, 12:05 AM

Hi all, ehh - I always get through very close to 36 bars when playing ATTYA...

:-), cheers, Jan

**DanielleOM** · 05-02-2016, 10:32 AM

I have been looking at this tune for a few weeks now. I have chord voicings worked out and a rather straight forward chord melody worked out. Just trying to work out some interesting single note lines now. I am finding this article to be helpful in that regard.

Danielle

**jibzy** · 07-21-2018, 03:53 AM

Please take a look at the attached file. The song is from the real book & it has an example of the chords "Am7b5 & D7" in one bar, E7#9 in another bar, F#m7b5 in another and finally C7#5. These chords play a different role to the keys in the song, but what would those roles be & what would you call the chords?...can someone help me please

**grahambop** · 07-21-2018, 04:18 AM

They are basically 2-5-1’s. So Am7b5 then D7 are a ii-V7 into the G chord which follows. The E7#9 is a V7 going into the Am chord which follows. Just your standard dominant to tonic move which is everywhere in these tunes.

By the way your first bar is mislabelled, should be key of Ab not A.

**jibzy** · 07-21-2018, 05:44 AM

thanks graham, but m7b5 chords are half diminished, so Am7b5 - D7 - Gmaj7 can't be a II V I

**ragman1** · 07-21-2018, 08:01 AM

Numbers can be major or minor. Then he said Am7b5-D7 was ii-V7 into the G, which is correct.

ATTYA is in the key of Ab, not A as written in the first bar after the intro.

One point about this tune is that often it employs what they call modal interchange. You can look that up but basically it means the ii-V are the minor version of the 2-5 going to the major chord - i.e. instead of Dm7-G7-CM7 it's Dm7b5-G7b9-CM7. It's a nice trick that gives a bit of flavor to the sound.

The rest of your chart looks okay. But you better check.

**grahambop** · 07-21-2018, 08:25 AM

Originally Posted by jibzy

thanks graham, but m7b5 chords are half diminished, so Am7b5 - D7 - Gmaj7 can't be a II V I

as the others have said, I was careful to say ii V implying the minor i.e. Am7b5.

Doesn’t always resolve to the minor, can go to the major as here (Gmaj7).

**ragman1** · 07-21-2018, 09:14 AM

Anyway, apart from all that -

"Am7b5 & D7" in one bar, E7#9 in another bar, F#m7b5 in another and finally C7#5. These chords play a different role to the keys in the song, but what would those roles be & what would you call the chords?

We've explained the Am7b5 to D7 to G.

The F#m7b5 to B7 to EM7 is the same idea again in E.

***************

The E7#9 is going to Am, it's the V chord (E7 - Am)

The C7#5 is the V of Fm7, which is the next chord (C7 - Fm)

***************

What do you mean 'what would you call' the chords'? I'd call them by their name. I'd describe their function as the ii-V to the I, or whichever it is. Unless you mean something different.

It doesn't matter very much what the extensions are when looking at chords, they just give a bit of colour to the sound. Really the first line is Fm - Bbm - Eb7 - Ab - Db, which is all in Ab, then it's G7 - C, obviously in C. Then it repeats the same thing a fourth lower in Eb and G... etc.

Look at it simply, it's easier to understand that way. Always look at chords in context, not in isolation.

**matt.guitarteacher** · 07-21-2018, 09:44 AM

What class is this for?

Anyway, I think you'll do better to try these search engine terms:

Roman numeral analysis "all the things you are"

Here's one: All The Things You Are - Chord/Melody, Analysis & Guitar Examples

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TH · 07-21-2018, 10:42 AM

Originally Posted by jibzy

Please take a look at the attached file. The song is from the real book & it has an example of the chords "Am7b5 & D7" in one bar, E7#9 in another bar, F#m7b5 in another and finally C7#5. These chords play a different role to the keys in the song, but what would those roles be & what would you call the chords?...can someone help me please

I don't know how much help it'd be but I have a thread and we look at a tune a week to be practiced and discussed in that week. The second week in January, post 293, we looked at this tune.
Commit to a song a week. What could a serious student hope to learn?
there might be some thoughts in there that may be helpful. You're also welcome to take part in this thread/group and your questions would be a nice jumping off point for some nice discussions.
David

**jibzy** · 07-21-2018, 10:47 AM

The analysis helps in understanding the music theory structure. I can learn the songs slowly in order to play them right, but I want to figure out Chord tones, Rhythm, Voice leading, difference between the sound of chords etc...all these are a part of the melody

Originally Posted by ragman1

Ok, but what about playing it? What do you think is the relationship of the analysis to the notes/sounds you'd use to actually play the tune?

TH · 07-21-2018, 10:48 AM

Originally Posted by jibzy

Please take a look at the attached file. The song is from the real book & it has an example of the chords "Am7b5 & D7" in one bar, E7#9 in another bar, F#m7b5 in another and finally C7#5. These chords play a different role to the keys in the song, but what would those roles be & what would you call the chords?...can someone help me please

You've identified them correctly as dominant functioning chords that go to tonal centres other than the home key. This piece is nice in the way it uses unexpected "adjectives" to highlight resolutions and temporary changes in the keys we hear. It's constantly refreshing itself in that way.
Are you familiar with the different types of dominant progressions, chords that point to a resolution? They are quite interchangeable and familiarity of these devices will go a long way in describing the way we perceive tonal shifts and modulations.
Sorry if this is an oblique comment, I'm trying to see where you're coming from.
David

**ragman1** · 07-21-2018, 10:50 AM

Originally Posted by jibzy

The analysis helps in understanding the music theory structure. I can learn the songs slowly in order to play them right, but I want to figure out Chord tones, Rhythm, Voice leading, difference between the sound of chords etc...all these are a part of the melody

So I take it you're playing chord melody as opposed to single notes over a backing?

**mr. beaumont** · 07-21-2018, 10:51 AM

Yeah, I'd be careful with over analyzing...recognizing movements like the ubiquitous ii V I is certainly helpful, but when starting out, identifying whole sections of a tune as being in one key can be a double edged sword...certainly, it simplifies things...but if you actually just play, say Ab and C scales over the first 8 bars...it's not really going to sound much like jazz.

A tune like this...I'd write down all the guide tones (3rds and 7ths) and watch how they move from chord to chord. All the Things is a great tune to really go after playing the changes, because they move in such a logical way.

**jibzy** · 07-21-2018, 10:59 AM

I've had a look at progressions, but I need to understand "chords that point to a resolution"

**ragman1** · 07-21-2018, 11:10 AM

Chords that 'point to a resolution' means just that. If you play a G7 by itself it doesn't go anywhere, it just sort of hangs. It's waiting for the next sound to resolve it, which is what happens when you play CM7 after it.

Well, I suggest you go onto YouTube where there are several CM instruction vids for ATTYA. Also Matt's article above does the same. In fact, that might be easier.

You can easily look all these sorts of terms up but 'voice leading' means the notes of each chord slip into each other nicely, you're not just playing slightly disconnected shapes willy-nilly up and down the board.

**ragman1** · 07-21-2018, 11:21 AM

To follow up what Jeff said, try not to fall into the trap of playing 'intellectual guitar'. That is, if you must get involved in theory, make it practical and applicable. Don't get lost in a lot of conceptual thinking that's very difficult to relate to playing actual music.

If you discover the guide tones, i.e. 3rds and 7s, that's fine but you may find it very awkward to make your fingers go there when improvising. Fine on paper but it'll sound forced and unnatural in practice. Far better to use your ears and play what appeals to your musical sense. Then you may well find that you're gravitating to those notes instinctively. Try it and see.

**matt.guitarteacher** · 07-21-2018, 02:15 PM

Originally Posted by jibzy

I'm new to jazz & I want to learn how to analyse songs, to make them easier for me to understand. There's no class or private teacher either

Okay. That's cool. Again, I think "Roman numeral analysis" is a pretty good search term for these things. You'll probably find them all over the Internet. Look at YouTube especially.

All the things you are is a "mother tune". Really important to know, for all the things it has to teach about jazz harmony, among other things. If you're new to this type of Roman numeral analysis, start with Autumnleaves, and then, fly me to the Moon. Those are like younger sisters to all the things you are. Not as sophisticated, haven't gone off to college and experience the world as much yet, but easier to digest. You'll see the patterns in all the things you are better when you understand those more solidly.

"Borrowing from minor" is really important in a lot of these tunes. Write out all the scale degrees forcords in natural, harmonic, and melodic minor. Especially the first two, for analysis purposes.

You should instantly recognize a minor 2-5, even if it's used in a major key and resolves to a major chord. You'll begin to see things like Vim and bVII -type movements as well.

Join David's thread for sure. He is very knowledgeable , experienced , and ESPECIALLY... generous. You'll learn more in that TUNE context.

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