Chord changes to All the Things you are
I have a quick Post about The tune All the things you are. Recently I have been analyzing patterns in Chord changes to help remember them better?
So this is my question?
Is this the right Analysis?
Were in Abmajor Btw
Bars 1-5 of A are a 6-2-5-1-4 in Abmajor
bars 5-8 of a are a 2-5-1- In Cmajor
Bars 1-5 of 2nd A are a 6-2-5-1-4 in Ebmajor
Bars 5-8 are a 5-1 in Gmajor
Bars 1-4 of B are a 2-5-1 in Gmajor
Bars 5-7 of B are a 2-5-1 in Emajor
Bar 8 would be a c7(what key centre is this chord based around)
Bar 1-5 of C are a 6-2-5-1-4 in Abmajor
What are bars 6-8 of C?
bars9-11 of c are a 2-5-1 in Abmajor
Bar 12 is a 2-5 in Fmin
I am new to this sort of analysis so If this is wrong I just want everyone to be blunt..
p.s. imm transcribing some sweet ray brown stuff on this tune!
Good work, good questions.
The C7 is a V of iv in Ab major. This is called a secondary or applied dominant.
After the IV chord in the last section, it's iv (four minor) to iii, to vii dim 7 of ii (an applied dim 7 chord, similar to a secondary dominant), to ii, V, I. The whole last section is in Ab major, with chromatic passing tones making the harmony interesting and less stable than the rest of the tune.
It is common practice to use Arabic numbers for scale degrees, and Roman numerals for chord qualities. Upper case Roman numerals are major, lower case minor.
Theory can be fun....I've been playing a lot of jazz lately and analysing tunes with members of my swing band. I love being around musicians who get a buzz over voicings and discussing structures like this.
There is no "right" analysis, just a given perspective. What you wrote out is an analysis from the focus on key centers. More of a "take a step back" approach. The problem with key centers (as you may have discovered) is that some tunes have multiple key centers. Analyzing it from one key center won't make sense completely.
You should look at it from other perspectives too. Cmi7 in Bar 5 is just modulating from major to minor from Bar 4. You should also try to establish the relationships between the melody and the changes. Check out the melody for All the Things... what note does the melody start on relating to each chord?
An example (using my ears to correct chord qualities)
* First 8 bars: 6-2-5-1 in the tonic, follow through with the next chord following cycle of 5ths (gives you the 4). Go half a step up and play a 2-5-1 (you end on IIImaj of the tonic)
* Second 8 bars: Same exact pattern as in the first 8 bars. You start by modulating to minor. End on Tonic of the tune.
* Bridge: Go up a half step, play a 2-5-1. Go down half step play another 2-5-1.
* Last A: Go to the first chord of the tune (6) play a 6-2-5-1, then again to 4. Modulate to minor and start going down by half steps until you hit the final 2-5-1.
I think I wrote that mostly right. Anyways, this way I negotiate everything (including key center modulations), and the structure is chained together.
You can use both approaches (and others) and/or mix them so that you can get the hang of a tune. Sometimes I look for landmarks in a tune. Something that like a reminder like "The bridge always starts half step up from the tonic"). The melody is very important otherwise changes from one tune will start to sound like those from another and becomes easy to get lost. The melody will also give you important landmarks that will need emphasis as well, not to mention you can hear the correct chord qualities too.
Landmarks are great tools because if you get lost on the form, you can always watch out for the next landmark to sync up with the band as long as you ears can hear it. It's not hard usually to hear if the band has hit the bridge and you can just snap to the landmark you've made mentally.
So when the band hits the bridge, forget what you're doing and just automatically jump to Ami7 to start a 2-5-1. Bang! You're right back with everyone else.
Thanks Hdiddy I will take this in too account!!
Also, I find that the more perspectives/approaches you take toward a tune, the easier it gets and the easier it is to memorize. You gravitate towards certain approaches too.
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