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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 A 2 sections and measure 9 of the A 3 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 A 3.īecause of its combination of a strong melody and challenging but logical chord structure, "All the Things You Are" has become a popular jazz standard. The G ♭7 or D ♭ minor chord in measure 6 is a borrowed chord from A ♭ minor. In the 6th measure, A 3 takes a new path that does not come to an end until the 12th measure of the section. The first five measures of A 3 are identical to the initial 8 measure long A and A 2 sections. 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. (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. Then using simple modal mixture, the B7 chord is used to bridge from E minor to E major in bar 7. 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. In bars 1-4 of this section, it is a simple ii–V–I progression. The bridge of this piece, section B, is another example of a functional chord progression in the keys of G major and E Major. Problems playing this file? See media help. The song has been recorded by a plethora of artists. Popular recordings of the song in 1940 were by Tommy Dorsey and His Orchestra (vocal by Jack Leonard), Artie Shaw and His Orchestra (vocal by Helen Forrest) and Frankie Masters and His Orchestra (vocal by Harlan Rogers). It appeared in the film Broadway Rhythm (1944) when it was sung by Ginny Simms, and again in the Kern biopic Till the Clouds Roll By (1946), sung by Tony Martin. The song was written for the musical Very Warm for May (1939) and was introduced by Hiram Sherman, Frances Mercer, Hollace Shaw, and Ralph Stuart. " All the Things You Are" is a song composed by Jerome Kern with lyrics written by Oscar Hammerstein II.
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