**Title:** All the things you are **Artist:** Jerome Kern **Released in:** 1939 <iframe width="100%" height="415" src="https://www.youtube.com/embed/OPapxr8GvGA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> ## Sheet  ## Lyrics **A** You are the promised kiss of Springtime That makes the lonely Winter seem long **A** You are the breathless hush of evening That trembles on the brink of a lovely song **B** You are the angel glow That lights a star The dearest things I know Are what you are **A** Someday my happy arms will hold you And someday I'll know that moment divine When all the things you are Are mine ## Music analysis All The Things You Are is one of the tune every musician that want to play jazz music should learn. It's one of the pillar of jazz music, well known standard, mostly because of it's harmony and modulation around the [circle of fifth](Circle%20of%20fifth.md). The form is derived from the standard 32 AABA. It's here a 36 AABA, even if the chords are different accross sections. What's important here is that the melody is the same within the different A, with 4 bar added at the end. What's really interesting in this tune is modulations. We're starting the song in Ab major from bar 1 to 5, then we're going to C major using the G7 to justify the changement. By going to C, we modulate from Ab major to its major third. Then starting the second A, we start with Cm, which is the minor namesake of the last key (C) and also the minor relative of Eb. So from Ab, we had modulate to Eb with a short visit in the C major key. This correspond to one shift in the circle of fifth. This part has the chord pattern and then remodulate to G, its major third, justified by the D7. For the B part, we stay on G major on the 4 first bar of this section, and then start what could be a [Minor II-V-I](Chords%20progressions.md#Minor%20II-V-I%20Complete%20minor%20with%20substitution) but that end on his major namesake, here a E major. We can't say here we're in the key of E major because of the short passage. We're just visiting the key and use it's major third as pivot note with C7+5 (the major third of E is G#, which is also the #5 of C7), the V degrees of F-7. This how, using some kind of harmony hacks, we're going back to Ab major on the last A. But here, instead of modulate to C like the first A section, after the Db∆ we're have a bass chromatic descent from Db-7 (minor homonym of Db∆) to Bb. Those four bar are going like IV, IVm III, \#IV° to a Ab [major II-V-I](Chords%20progressions.md#II-V-I%20complete%20with%20substitution) that end the melody, feeling at home. I found this video from Jens Larsen, analysing deeply this standard, and it's a really interesting video I wish I discovered when I was studying jazz: <iframe width="100%" height="415" src="https://www.youtube.com/embed/pAnT_wi2WJY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> ## Other versions There's tons and tons of version of this specific song. Here some I like and value : ### Pat Metheny, Dave Holland and Roy Haynes Pat Metheny is certainely my favorite jazz guitarist. Its take from the album Question and Answer featuring Dave Holland (bass) and Roy Haynes (drums), played at a high speed in a be-bop style is awesome. It shows Pat Metheny's both musicality and virtuosity. <iframe width="100%" height="415" src="https://www.youtube.com/embed/H3nNaD8g3QY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> ### Shai Maestro and Chris Potter I really like this one, first because I love individualy both Shai Maestro and Chris Potter, and second because it's impressive how their own style show through the standard. Shai is brillant in how he mix oriental flavor and tweak the melody using the intro as a core and switching between low and high notes. Remind me the left hand of Brad Mehldau. And then... Chris Potter! The sound, the ideas, the patterns... Awesome <iframe width="100%" height="415" src="https://www.youtube.com/embed/DiDt5LNXsMY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> ### Keith Jarret, Jack Dejohnette and Garry Peacock Usually, I'm not a big fan of Keith Jarret, but his way of playing this standard is out of competition. He give such energy, deconstruct the rhythm but still keeping it musical and recognizable. This is not my favorite version, but it's still absolutely awesome, especialy that piano solo intro. It's even more with Jack DeJohnette (drums) and Gary Peacock (bass) driving it. <iframe width="100%" height="415" src="https://www.youtube.com/embed/-DOgW3XcMi4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> My favorite version of Keith Jarrett from its 1990 Tribute album record. The intro is absolutely outstanding : <iframe src="https://open.spotify.com/embed/track/1nmLTVlTLqkxR02S8xaaiF" width="100%" height="80" frameborder="0" allowtransparency="true" allow="encrypted-media"></iframe> ### Julian Lage and Mike Moreno Julian Lage and Mike Moreno playing the song like their practicing mentalism. The level of musicianship and listening here is absolutely insane. <iframe width="100%" height="415" src="https://www.youtube.com/embed/jqG201IQsfg?start=134" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> ## Notes The [Wikipedia page for this song](https://en.wikipedia.org/wiki/All_the_Things_You_Are) is outrageously complete in term of musical analysis and versions.