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Topic: All the Things you are |
Bill McCloskey
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Posted 19 Jun 2010 11:27 am |
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I'm using this song to get acquainted with the neck of the Clinesmith and the new tuning.
If you ever want to completely learn a neck, this is the song....whew...
I've been at it all day and I'm not past the first 8 bars. |
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Andy Volk
From:
Boston, MA
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Bill McCloskey
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Posted 19 Jun 2010 11:40 am
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Yikes....thanks Andy.
As if I didn't have enough to work on. 
(seriously, thank you). |
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Jerry Overstreet
From:
Louisville Ky
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Posted 19 Jun 2010 1:48 pm
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Ralph Patt's site has a chart and a couple of faster versions of the tune.
http://ralphpatt.com/Song.html
What a great tune. I'm glad to know someone else likes it well enough to learn it.
I think the alternate name is "all the chords you know"
Last edited by Jerry Overstreet on 14 Mar 2023 2:07 pm; edited 1 time in total |
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Bill McCloskey
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Posted 19 Jun 2010 2:17 pm
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| Thanks Jerry. Fantastic. |
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Mitch Drumm
From:
Frostbite Falls, hard by Veronica Lake
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Bill McCloskey
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Posted 20 Jun 2010 5:17 am
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I'm up to the bridge, which I'll start working on today. Can't tell you what a learning experience this has been. All these weird chords that I wouldn't play on the guitar...trying to figure where they are on the neck and then where else can I find them on the neck..Just been a intense learning experience. And the song is so harmonically rich that it is a real sense of discovery and never gets boring.
For those looking to learn their necks: I can give no better recommendation than working on this tune. |
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Jerry Overstreet
From:
Louisville Ky
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Posted 20 Jun 2010 7:05 am
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I take my hat off to you. This must take a lot of music education, knowledge and cogitating to play on a straight tuning. Maybe you can post a sound byte of it when you have it all down to suit you. Happy pickin' 
I love playing the tune though. I was fortunate to play it out one time with Boogie Sherrard on straight guitar, who showed me the head, at one of our club meetings. |
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Bill McCloskey
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Posted 20 Jun 2010 7:23 am
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| The cogitating is the key and hard part. More and more ideas reveal themselves as I get more familiar with the tuning, but it is like a crossword or a jigsaw puzzle. |
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Mike Neer
From:
NJ
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Posted 24 Jun 2010 7:50 am
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Here is the Charlie Parker intro that everyone plays.
Pick every note and make sure to block so there is no ringing.
http://www.youtube.com/watch?v=3WPrENorX2Y
| Tab: |
E___5__4__________5_4____5__4____4_3___________etc.
C_____________4_________________________3______
A_________4___________4_______4______3_________
G_____________4_________________________3______
E______________________________________________
C#____________4_________________________3______
A______________________________________________
G______________________________________________
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Wash. Rinse. Repeat. This is used as an ending as well.
_________________
Links to streaming music, websites, YouTube: Links |
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Andy Volk
From:
Boston, MA
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Mike Neer
From:
NJ
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Posted 24 Jun 2010 8:49 am
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That's really great. That's how Richie Beirach plays that tune.
_________________
Links to streaming music, websites, YouTube: Links |
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Andy Volk
From:
Boston, MA
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Posted 24 Jun 2010 9:38 am
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It's one of those progressions - like There Will Never Be Another You - that seems to be able to absorb everything you can throw at it from reharmonization to jazz improv or baroque flights of fancy or steel guitar swooping and gliding and still come out sounding basically the same.
Thelonious Monk's music on the other hand, seems to me to stubbornly refuse to be played successfully in any manner other than the way Monk composed it. |
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basilh
From:
United Kingdom
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Posted 24 Jun 2010 5:34 pm
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Very informative regarding the "All The Things You Are
A Harmonic Analysis by Dr. Matthew Warnock"
And thanks Andy for the 'heads up'...
BUT the analysis is flawed in one MAJOR respect, the verse isn't included in the dissection, and it most definitely should be.. Ground-breaking as it was.. Verse in G modulating to Ab et al for the chorus'
"Time and again I've longed for adventure,
Something to make my heart beat the faster" and so on.
The key centre and harmonic centre of the verse are SO important in setting the mood for what follows.
| Quote: |
History
The musical Very Warm for May, which introduced “All the Things You Are” on Broadway in November of 1939, was a dismal flop that closed after 59 performances. Even though it was written by two Broadway legends, Jerome Kern and Oscar Hammerstein II, and had what many believe to be Kern’s finest score, it was the victim of a last-minute script rewrite demanded by the producer, Max Gordon, that eviscerated the plot of the play. NY Times drama critic Brooks Atkinson said “Very Warm for May is not so hot for November”, and theater audiences apparently agreed; there were only 20 people in the audience by the second night. Ticket prices were reduced from $4.40 to $3.30, but it still closed shortly after New Year’s Day in 1940. Even as the show was dying on Broadway, the Tommy Dorsey Band’s 1939 recording of “All the Things You Are” was peaking at 1st place on the pop charts. In 1940 a recording by Artie Shaw and His Orchestra rose to 8th place and one by Frankie Masters rose to 14th place. The song appeared eleven times on “Your Hit Parade”, reaching first place twice. Based on a recent survey by JazzStandards.com of the songs most frequently included on currently issued CDs by the greatest number of jazz artists, “All the Things You Are” ranks second. Only “Body and Soul” appears on jazz CDs more frequently.
Why do jazz musicians like “All the Things You Are” so much? Kern and Hammerstein certainly did not expect the song to be so successful. The song has an unconventional ABCD structure with three key changes in the middle of the refrain, which was unusual and risky for a pop song at the time. But, as William Hyland states in his book, The Song is Ended, “What they (Kern and Hammerstein) could not anticipate was that musicians of all categories would be fascinated by Kern’s harmonic dexterity, including especially some clever musical devices in moving through different keys.” Its twelve-note range presents special challenges for vocalists; it even has attracted opera singers who performed it in aria fashion, including Placido Domingo, Mario Lanza, Jessye Norman and Dame Kiri Te Kanawa.
Although opera singers may like it, Kern believed that the melody was too complex to become a hit with the public. Even though the song’s refrain begins simply enough with an easily sung first line, it quickly becomes tricky. However, when Kern heard a passerby whistling it, he had to revise his opinion. Alec Wilder, in his book American Popular Song, has this to say about the song’s popularity with the general public: “I am surprised as Kern is alleged to have been that it became a hit. Perhaps one should hark back to that old theory that if the opening measures of a song are singable, it doesn’t matter how complex the rest of it is.”
While the melody may be challenging, Hammerstein’s lyrics were written to be easy on singers. He came out of the European operetta tradition of lush images and flowing rhetoric, and wrote lyrics with sonorous phrases rich in long vowels and liquid consonants. His lyrics presented forthright sentiments rather that the witty, understated light verse of the Gershwins, Rodgers & Hart and Cole Porter that was so popular in the late 1920s and 1930s. After his major hit in 1927, the musical Showboat, his career went into eclipse. Philip Furia, in his book The Poets of Tin Pan Alley, quotes Hammerstein describing his lyrical style as follows: “Aside from my shortcomings as a wit and rhymester – or perhaps, because of them – my inclinations lead me to a more primitive type of lyric.” The lyrics for “All the Things You Are” were in his preferred writing style, but he never was completely satisfied with them. Having to use the word “divine” in the second to last line displeased him because he thought it trite, but he searched fruitlessly to find another word to rhyme with “mine” in the last line. Since he liked the rest of the song and the last line in particular, he was stuck with keeping “divine”. It is fortunate that he didn’t find a replacement – “divine” fits the song perfectly.
The failure of Very Warm for May was discouraging to Kern and Hammerstein. It would prove to be Kern’s last Broadway show. In the early 1940s he wrote scores for Hollywood films and died in 1945 of a cerebral aneurysm. However, for Hammerstein, in the early 1940s the era of sophisticated, urbane lyrics was waning and musicals were returning to the older lyrical style he preferred. In 1943 he teamed with Richard Rodgers to write the ground-breaking musical Oklahoma and his Broadway career was back on track.
“All the Things You Are” by Jerome Kern and Oscar Hammerstein II
Verse
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.
Finding your love I've found my adventure,
Touching your hand, my heart beats the faster,
All that I want in all of this world is you.
Refrain
You are the promised kiss of springtime
That makes the lonely winter seem long.
You are the breathless hush of evening
That trembles on the brink of a lovely song.
You are the angel glow that lights a star,
The dearest things I know are what you are.
Some day my happy arms will hold you,
And some day I'll know that moment divine,
When all the things you are, are mine!
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Steelies do it without fretting
CLICK THIS to view my tone bars and buy——> |
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Kay Das
From:
Los Angeles CA
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basilh
From:
United Kingdom
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Posted 14 Mar 2023 3:37 pm
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So has anyone here tackled the verse ? the change into the main refrain is ear-catchingly simple..
BTW Just recovering from a right hip replacement that was caused by excessive wear & tear on the joint by constant volume pedal, knee lever and pedal usage. (I use both feet on the pedals quite often) The surgeon said that to his knowledge there never has been an example of wear &tear in the directions and amount that I had.I'll start a new post explaining how and why..
Whilst we are discussing (Well I am) verses, Autumn has a superb one. "Try it You'll Like it!"
_________________
Steelies do it without fretting
CLICK THIS to view my tone bars and buy——> |
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Bill Hatcher
From:
Atlanta Ga. USA
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Posted 14 Mar 2023 6:45 pm
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baz.
no one plays verses from these old songs. yes they are part of the song....but no need for them. thats from a bye gone era.
i worked some shows with perry como. i think he sang the verse to volare.....that was decades ago. every so often some cabaret singers do them to try and conjur up some cool factor. nobody knows them. |
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Rich Arnold
From:
Tennessee, USA
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Bill McCloskey
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Posted 15 Mar 2023 9:33 am
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| Always a mixed blessing when a 13 year old post of mine pops up. Especially since I still can't play All the Things you are. |
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Jerry Overstreet
From:
Louisville Ky
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Posted 15 Mar 2023 10:55 am
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I was looking at this thread yesterday to find my link to the changes.
I know this section is not about pedals, but I'd just like to pay kudos to Doug Jernigan whose way back rendition of this tune was my inspiration to learn it on pedal steel...and in the proper key...
I have been able to play it all of one time on a local show with my good friends Boogie Sherrard, who initially showed me the head of the tune, Russ Caswell and Ron Browning. RIP all. I miss you. I was scared to death, but it wasn't that bad. I don't know another soul personally in my circles, who knows the tune.
There is a video or two of Doug playing the tune on youtube if you care to poke around a bit. Also a slow version on his Doug and Bucky LP. |
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