How to Play All the Things You Are On Guitar.docx

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  • 7/29/2019 How to Play All the Things You Are On Guitar.docx

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    How to Play All the Things You Are On

    Guitar

    New to Jazz Guitar? Visit theBeginner's Guide to Jazz Guitar.And Learn to Play Jazz

    Guitar Today!

    This article is an installment in myAnatomy of a Tuneseries, where I take famous Standards

    and break them down from a specific standpoint such as improvisation, chord melody,

    comping, arranging or phrasing/rhythm. In this article, we will be breaking down All the

    Things you Are on guitar from the perspective of a chord melody arrangement and comping

    with basic chord subs.All the Things You Are is one of the most popular standards in jazz, and a must learn forany jazz guitarist.

    Since most of our responsibility in any ensemble is to provide harmonic material for intros,

    chord melodies and comping, this is a great tune to dig into when exploring different aspects

    of these concepts.

    In the following article we will analyze both the harmonic progression and intervallic

    structure of the melody, as well as use this information to build a simple counterpoint line,

    chord melody and comping approach to the tune.

    So, what are we waiting for? Lets dig in to All The Things You Are on Guitar!

    Have a question or comment on this lesson? Visit theATTYA Analysis thread at the MWG

    Forum.

    Al l the Things You Are on Guitar Analysis

    Before we dive in to building a chord melody and working with some comping on All The

    Things You Are, lets check out the harmonic progression itself.

    Because this tune moves into a number of different keys, Ive labeled the keys on top of the

    staff, over the chord symbols, and then the Roman numeral analysis is below the staff,

    underneath the melody.

    You will notice that the progression for the first 8 bars, in the keys of Ab major and C major,

    is the exact same progression as the second 8 bars, though this time, the chords are in the

    keys of Eb and G major.

    http://www.mattwarnockguitar.com/beginners-guide-to-jazz-guitarhttp://www.mattwarnockguitar.com/beginners-guide-to-jazz-guitarhttp://www.mattwarnockguitar.com/anatomy-of-a-tune-jazz-guitar-serieshttp://www.mattwarnockguitar.com/anatomy-of-a-tune-jazz-guitar-serieshttp://www.mattwarnockguitar.com/anatomy-of-a-tune-jazz-guitar-serieshttp://www.mattwarnockguitar.com/forums/topic/how-to-play-all-the-things-you-arehttp://www.mattwarnockguitar.com/forums/topic/how-to-play-all-the-things-you-arehttp://www.mattwarnockguitar.com/forums/topic/how-to-play-all-the-things-you-arehttp://www.mattwarnockguitar.com/forums/topic/how-to-play-all-the-things-you-arehttp://www.mattwarnockguitar.com/forums/topic/how-to-play-all-the-things-you-arehttp://www.mattwarnockguitar.com/forums/topic/how-to-play-all-the-things-you-arehttp://www.mattwarnockguitar.com/anatomy-of-a-tune-jazz-guitar-serieshttp://www.mattwarnockguitar.com/beginners-guide-to-jazz-guitar
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    You can use this information to help you memorize the chord progression, but also during

    your improvisation as you can create a line over the first 8 bars, and then transpose it to the

    new keys for the next 8 bars.

    This will allow you to approach the first half of the tune in a melodic fashion, developing a

    motivic based phrase that you can later build into lines and more intricate soloing.

    The tune is divided into 4 section, the first three have 8 bars each while the last section has

    12 bars. Here are the sections:

    ABars 1-8

    A2Bars 9-16

    BBars 17-24

    A3Bars 25 to End

    Some key moments to check out, as you will encounter these progressions in many other

    songs, are the first five bars, vi-ii-V-I-IV.

    This progression, or parts of it, can be found in many other tunes in the Standard jazz

    repertoire, so you might want to spend some time and practice comping and improvising over

    this progression in 12 keys and at different tempos.

    Besides the iim7-V7-Imaj7 progression that make up the entire B section, as well as the last

    three bars of each A section, there is a very interesting group of chords in bars 29-32.

    Here, you have IVmaj7-ivm7-iiim7-biiidim7, which leads to the last iim7-V7-Imaj7

    turnaround of the tune.

    These chords, especially the first three, are very common in the jazz repertoire, so again, they

    would be worth practicing in 12 keys and in multiple tempos from both a comping and

    improvising standpoint.

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    All The Things You Are I ntervallic Analysis

    With an understanding of how the chords and key centers work for All The Things You Are on

    Guitar, well now dive into the melody line of the tune.

    Here is where you are going to be able to identify patterns in the interval structure of the

    melody, as well as use this for the basis of any chord melody that you want to work out over

    All The Things You Are.

    Notice how many times the melody line uses chord tones. Besides a few instances, mostly

    2nds and 4ths, the melody is largely made up of 3rds and 7ths.

    These two notes are often referred to as guide tones as they are used by compers and

    improvisers to outline the harmony of a given piece using voice leading.

    Notice that, in many progressions, the 3rd from one chord will stay in place to become the

    7th of the next chord, or the 7th of one chord will move down by a half-step to become the

    3rd of the next chord.

    You can see this in the melody line between bars 2 and 3, where the 7th of Bbm7, Ab, moves

    down by half-step to become the 3rd of Eb7, G.

    As well, that same G, the 3rd of Eb7, stays in place to become the 7th of the next chord,

    Abmaj7.

    This type of voice leading, using 3rd and 7ths to create melody lines and melodic phrases, isan important tool for any improviser.

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    So, when learning this, or any tune, it is always good practice to play the 3rds and 7ths of

    each chord, from memory, and when you can do that improvise lines using only those notes

    for each chord.

    You will be surprised how clearly you can outline the harmonic progression while only using

    two notes in your lines.

    Since the melody is largely made up of 3rds and 7ths, this also makes it easy to build a chord

    melody arrangement, as both of these intervals will be at the top of many common Drop 2

    and Drop 3 chord shapes.

    More on this later, but if you are ready to dig into developing your own chord melody for

    ATTYA, try starting with Drop2 and thenDrop 3 chords, youll notice how naturally these

    shapes fit with the melody line, making it the perfect vehicle for a chord melody on the guitar.

    http://www.mattwarnockguitar.com/guitar-resources/chords/drop-3http://www.mattwarnockguitar.com/guitar-resources/chords/drop-3http://www.mattwarnockguitar.com/guitar-resources/chords/drop-3http://www.mattwarnockguitar.com/guitar-resources/chords/drop-3
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    Al l The Things You Are Melody With Bassline

    One of the exercises that I love to do, and to teach to my students, to get ready for a chord

    melody is to add a simple bassline made up of tonic notes below the melody line.

    By doing so, you can start to physically see how the melody notes relate to the root note of

    each chord, as well as begin to hear how the root and melody line sound against each other.

    This exercise will also give you a framework for filling in the blanks in between the melody

    and bassline to form a nice-sounding chord melody arrangement that didnt take a lot of

    struggle to work out.

    Ive written out the first part of the tune in this manner below, so once you have worked

    through this section and gotten the gist of the exercise, work through the rest of the tune on

    your own in this manner.

    If you want to write out the melody with the bass notes below first, and then memorize it,

    thats perfectly fine.

    Or, if you want to challenge yourself further, you might want to try working out the bass-

    melody arrangement for the rest of the tune without looking at the lead sheet.

    Both methods are perfectly acceptable, so go with whatever one feels more comfortable to

    you at this point in your development.

    You will notice that there are times when two bass notes seem like legitimate fingerings, such

    as the Bb in bar 2 which is played on the 6th string in my example, but could also be playedon the 4th string in that position.

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    When you come to moments like these, its best to at least explore both options, as one might

    work with just the bass and melody alone, but when you go to add in some extra notes to form

    a chord melody the stretch is too big, as is the case in this example, which youll see in the

    n