Chords Analysis of All The Things You Are
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- Опубликовано: 24 апр 2018
- All the Things You Are by Jerome Kern is one of my personal favorite jazz standards. There are so many interesting things going on in this tune harmonically and melodically.
In this video I go over my in depth analysis of All the Things You Are complete with roman numerals and color-coded sections to help you understand it better. Let's do this!
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Although you were dead on with the key changes, i feel like you didnt get in to the reasoning why he chose those particular keys. In the first section, Dbmaj7 has important common notes with Dm7, the 3rd and 7th of that chord, which are the most important to feel that 2-5-1 resolution, which is why he cheats directly into G7 while still feeling resolved. In the transition from G to E, he uses an F#m7 (b5 in most cases) because F#m7b5 is very unique to the G major key while also acting upon the F# in Gmaj7, all this while also reaching for the ii chord role in the next modulation. I think its great to find reason why modulations sound so smooth without just throwing the concept of 2-5-1 out there. The rest was spot on my dude
Hey, thanks for your input! Those are certainly great observations.
One cool thing about this song is the strong note on each bar is usually the third. Not until the end does it finally resolves to the root.
Brilliant and different.
Yes! That third really brings out the chord.
What an AMAZING lesson!! The daunting changes suddenly seem less formidable, the color coded graphics are so helpful. I’ve always wanted to try this tune but it always seemed like a tough nut to crack, thank you!!
Glad it was helpful. Thanks!
Excellent analysis< Brent! What I also noticed is that the first four key centers spell the tonic chord of the key: Aflat - C - Eflat - G. This might be another tip in the toolbox for memorizing the harmony.
Excellent lesson.Thank you.
Thanks for watching Peter!
Thanks for this! Helped a lot!
Hey Ingrid! Glad you found this helpful.
Loved this - thankyou
Glad to help Judith!
This is very helpful. Thank you.
Glad it helped Kevin, thanks for watching!
Brent ___ this is what I was looking for / perfect response. Thanks again, and again. lol
My pleasure Donn!
So helpful. Thank you very much.
You're very welcome!
Good job with the video! I just noticed that it looks like the key centers build an Ab Major 7th chord with an E Major..... AbM - CM- EbM - GM - (EM) makes a cool resolution back to AbM. Maybe you said that in the video but I missed it....
Many thanks Brent ! Just a question, The voicings you play on the piano are much more sophisticated and spicier than the basic chords of the chart. So how should one go about enriching those basic chords ?
:) Saludos desde Argentina!
It's interesting that Kern modulated from Ab major to C major to Eb major and then to G major, systematically outlining the Abmajor7 parent chord.
Interesting
Hey Brent, for a beginner, is it true that someone playing a Bb trumpet is always playing the third note of chord?
After 25+ years of playing I decided to really focus on music composition. I know music theory and was trying to figure out how all these chords related back to Ab not even thinking about key changes. So this video helped me a lot. Now I will be looking for key changes. One thing I noticed, because I have to be "that guy", is that you have the Bdim7 labeled as biii. In the key of Ab for it to be a flat three it would be a Cbdim7. But because it's a Bdim7 it is actually a #ii. I know they are the same chord, but music theory has rules.
I'd like to say something about the Bdim7: it has the notes B, D, F, G#/Ab: B&F are guide tones of G7, G# and D are guide tones of E7. C -> G is down a 4th, G = E in this case, E -> Bb is down a 4th. Just try it, play Cmin7 -> G7 and E7 -> Bbmin7, it works!
Circle of Fifths.
Hi Brent. Very good explanations with the successive key changes and clear color-coded highlights. I do have a problem with your analysis of the Gb7 in measure 30, though…
If anything, it would have to be a bVII7 chord (still in the key of Ab). Some people think of that chord as a “backdoor” chord taking us back to the tonic after the subdominant- which is the case here, even though we arrive at the iii7 instead- but that’s a substitution for the I chord anyway.
Now, you do mention that we sometimes find a Dbm7 in that measure, and that’s where we really should go for an explanation. Dbm7 is a borrowed iv chord from the parallel minor key. That is a very common chord following a IVMaj7 chord (“All Of Me”, “When The Saints Go Marching In”, “Rhythm Changes”, etc.). We may then play either Dbm7 or Gb7 in that measure- or both, as those 2 chords will create a ii-V7.
Talking about ii-V7’s, a lot of people prefer playing Dm7-G7 in measure 6, which is a smoother transition from the DbMaj7 going to the G7. You actually used that exact same approach in measure 14 with Am7-D7 for the modulation into G Major- even though I usually play Am7(b5) there because of the Eb in the melody.
And for that matter, I usually prefer to play F#m7(b5) as well, instead of F#m7 in bar 21.
In any case, congratulations for your website and for all of the great work that you guys put out!
-Bruno Pelletier-Bacquaert brunojazz.com/
Hey Bruno, I would have to agree with you on all fronts there, and perhaps this would have been a better way to explain it. This is how I explain this particular chord in other studies in my book. I think associating with the parallel minor may be more appropriate, considering the "back door" doesn't arrive at the tonic. Though I do understand how the iii can be considered a substitution for the I. Great observations, and thanks for the input, Bruno!
This is really the kind of lesson that helps. Useless to learn scales, substitutions, etc, when you don't to which parts of the song to apply it. Probably this is the sugar of your book, right?
Hey Ribamar! That’s exactly correct, the first step is always understanding.
clear and useful, longer more review, paraphrase, explain all keys for layman
there is a TriTone between Db and G, which makes it more interesting
It makes a lot more sense as a tritone substitution for descending (Db -> D -> C -> Bb) -> (Bbmin7 -> Eb7 -> AbMaj7) than as IV -> IV7 of IV.
No, wrong ..... there are 900 notes of bebop between Db and Geeeee
love your vids! can you do body and soul?
Thanks for watching! Will put down on my requests list.
Please is there any software that can help me learn jazz and standards to allow me see different chords voicing used? Thanks
Irealpro is really good for offering different piano or guitar voicings but doesn't really explain how they work. So you get a nice challenge of figuring out how they work.
Hi Brent... I'm an amateur at most and just learning about all this. I searched for an analysis of this piece because I was wondering whether there was a key change at the bridge. Your explanation is stellar and it taught me a whole lot! Your analysis references key "centers", which is a new term and concept for me. Can you explain the difference between key centers and a key change? I understand what a key change is. Shifting between key centers is new for me, as I mentioned, and I'd like to understand a bit more behind that concept... I hope this isn't asking to much in this forum... if so, just let me know? Thank you!
Hey Mark, glad to help! A key center refers to the key being played in. For example if you are in the key of C major, the key center is C maj. If you're in the key of D minor, the key center is D minor. The key revolves around that tonal center. Key change simply means you are moving from one key center to another, the key of C major to Bb major for example.
You might want to check out Arnie Berle's "Chords and Progressions for Jazz and Popular Guitar" book or his "Fretboard Basics" compilation of his Guitar Player columns. He has a lot on key centers (first place I heard it...).
Hi Brent, i’m guessing that you don’t go around performing with all your chord charts colour coded! So my question is, when you work from pure black and white chord charts how do you notate chord changes in roman numerals when a song Modulates to various different keys? It’s not too hard when the key it goes to is within the scale that the song starts off in, but (for instance) “the Christmas song“ starts off in 'F' and at one point modulates to Ab ( The flat three) so it doesn’t fall neatly Into the category of 'V of IV' et cetera.
So basically, how do you notate a song in Roman numerals ( so you can play it in any Key), when the song cycles thru various key changes??
Many thanks Steve
Hey Steven, great questions! Of course, this is all stuff for the practice room anyway. Ideally, you won't be bringing any chord charts to performances, and will have them memorized. But analyzing can be very helpful. Keep in mind, in this tutorial All The Things You Are also cycles between multiple keys. You'll notice that I simply notate Roman Numerals relating to that new key. So if it's a ii-V-I in Ab, that's what I call it, or if its a ii-V-I in G, I call it the same. Sometimes it's inappropriate to relate everything back to the parent key in the key signature. Hope that helps!
Question: What software did Brent use to make this chart? Looks good and easy to use.
Hi Nizar, thanks for watching! For the music notation, I use Finale.
@@Learnjazzstandards Thanks for the response. Another question. I'm going to purchase one of your ebooks or courses. I have a background in classical guitar and new to jazz. Which product do you recommend? Zero to improve? 30 days? I love bebop and swing in particular. Cheers
Glad to hear that Nizar! Important to note that Zero to Improv is an eBook and 30 Steps to Better Jazz Playing is a course, so they are different experiences. Zero to Improv is more of a jazz theory application approach to jazz improv, and 30 Steps is an in-depth jazz practice program where you will be learning lots of material by ear. It's always hard to suggest one over the other because they are so different. If you want to learn jazz standards, solos, and jazz language, go with 30 Steps. If you want to study the more fundamentals of jazz theory as applied to jazz improv, go with Zero to Improv. Or dare I say both ;)? Hope that helps!
Simplifions de façon peu académique l'impro de ce theme
Mesures 1 à 8 tout en Fm blues ou Ab bebop pour y trouver le B et E de la melodie
Pareil pour les 8 mesures suivantes en Cm blues ou Eb bebop
Mesures 17 à 20 en G ok. Mesures 21 à 24 en E ok
Mesures 25 à 36 comme le début
What software is this?
Hey Michael, are you referring to the analysis of the chords I'm covering?
If he's going to do that, why bother us with a key signature... haha!
Jesus Christ loves you!!
Chord voicings sound like a Tyler, the Creator beat
Eric Huang this song was out long before that dude lol. If anything he drew from jazz heavily
@@nuclearmusic77 Yeah, I know. I'm pretty sure Charlie Parker wasn't jamming to Flower Boy in the 50s lol