IMPROVISING ON ALL THE THINGS YOU ARE Jazz Tactics #31

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All The Things You Are is a jazz anthem which has been played at one time or another by virtually every jazz musician and is in the category of 'must know' tunes. If you have a good handle on this one, you are well equipped to tackle most of the standard repertoire.
The first step with this and every tune is to learn the melody and connect key melody notes to the chord progression. While this is not a particularly difficult melody, there are a couple of tricky spots and I share a few tricks for conceptualizing and remembering these points in the song.
Although the harmonic structure of All The Things is built on common chordal patterns, it goes through five distinct key centers separated by major and minor thirds. This makes it both a challenge and a rich landscape of opportunity for the improviser. By thinking in terms of key centers rather than individual chords, it's easier than you may think to improvise on this chord progression, even when transposing to other keys.
ABOUT THIS SERIES
This is the 31st video in the Jazz Tactics series, exploring elements of jazz improvisation, based on my book of the same name and a university course that I taught for over thirty years. The sequential videos in this series will provide a solid foundation of understanding of the principles and practices of jazz improvisation, on both aural and intellectual levels. Below are some suggestions to get you started:
Do You Speak Jazz? • YOU ALREADY KNOW HOW T...
What Makes Jazz Jazz? • TRADING FOURS WITH FRE...
Why I Can't Teach You Jazz • WHY I CAN'T TEACH YOU ...
What's So Great About Chet Baker? • TRADING FOURS WITH FRE...
Trading Fours With Freddie Hubbard • TRADING FOURS WITH FRE...
Improvising on Autumn Leaves • IMPROVISING ON AUTUMN ...
Improvising on Sweet Georgia Brown • SWEET GEORGIA BROWN Ja...
Improvising on Rhythm Changes • IMPROVISING ON RHYTHM ...
Improvising on There Will Never Be Another You • IMPROVISING ON ANOTHER...
Improvising on All The Things You Are • IMPROVISING ON ALL THE...
ABOUT THIS CHANNEL
On this channel, jazz trumpeter, educator and author Chase Sanborn offers information and advice for musicians and music appreciators.
PLAYLISTS
This link will take you to all the playlists on this channel:
/ @chasesanborn
LEAVE A TIP
You can leave a tip to support the work that goes into this channel by clicking the THANKS button. Thanks to YOU for watching!
MORE INFORMATION
For more in-depth and personal information and instruction, check out Chase's books and online lesson options on his website:
www.chasesanborn.com

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13 фев 2024

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Комментарии : 28

@chasesanborn 5 месяцев назад

This is the 31st episode in the Jazz Tactics series of videos taking you through the nuts and bolts of improvising. Please leave a LIKE and a comment so RU-vid (and I) know you enjoy the content. Here's the full playlist: ru-vid.com/group/PLdkYbUyqvkhSJJ4IJFoNYBtNaxiMZgNlg

@musamor75 5 месяцев назад

Simply excellent! Really. Precise and clear, nothing to add. If only all videos were this clear and good to watch. Thank you so much for sharing. Greetings from France.

@chasesanborn 5 месяцев назад

Thanks for your glowing review, and greetings from Canada!

@pickinstone 5 месяцев назад

I am hearing a lot of Art Farmer in this video. I tried turning a student of mine who plays trumpet onto Art Farmer--I teach English Lit, but have studied jazz for 20 odd years. I recently gave ATTYA a closer look with my private teacher and wow... What's most unfortunate is how this tune is shoveled off as a "beginner tune" because the melody is mostly straight forward. In reality, playing ATTYA convincingly is quite the challenge. I like treating that I chord in the 4th measure as a dominant chord now--helps create more movement to the IV (in concert: the Ab7 going to Dbmaj7). The contrafacts to ATTYA are also great, from "Prince Albert" to "Dixie's Dilemma." To be honest, too many sleep on the wealth that "basic tunes" have to offer. "Bye Bye Blackbird" or "If I Were A Bell" are beautiful tunes--and can be quite the melodic workout for getting your bebop together. And "Blue Bossa" is quite the challenge to sound interesting on--look at what Joe Henderson and KD did on that tune. I always tell people that Coltrane and Cannonball didn't raise their nose to these tunes, so we shouldn't either. Too many peeps want to rush into "Moments Notice" without giving NOTICE to all these beautiful songbook standards.

@chasesanborn 5 месяцев назад

A comparison to Art Farmer is high praise, thank you! I would not call All The Things a beginner tune, but I've tried to provide an overview that allows one to approach it as five pools of notes related to major key centers. In my university improv class, which was originally the target audience for the Jazz Tactics videos, this tune is where we usually wound up at the end of the year, though sometimes we got a introductory look at Giant Steps as another tune with key center modulations of a major third. Although the modulations are fewer with Giant Steps (3), it's tougher to negotiate because they move so rapidly, as I think I discussed in this video.

@pickinstone 5 месяцев назад

@@chasesanborn No, I definitely didn't mean that you called ATTYA a beginner tune at all. I meant that many other folks pass the tune off as easy when its actually quite complex. I was just venting that a lot of people studying jazz suffer from the Dunning Freddie Kruger Effect. They think that certain tunes are "below them" and totally pass up lessons in harmony and melody that all songbook standards stand to offer. Apologies if I was being misleading. I love your videos. Brass players are awesome, as long as you don't sit in front of their bell ;)

@chasesanborn 5 месяцев назад

No worries--I didn't take it that you were referring to me. BTW, I picked the trumpet specifically so I wouldn't have to sit in front of one! :)

@JoeLinux2000 5 месяцев назад

Very interesting approach.

@chasesanborn 5 месяцев назад

I'm glad you find it to be so!

@matth6932 5 месяцев назад

I can sing it...just need to nail the changes in the bridge on my horn and memorize it. One of my "white whales". Thank-you again Chase. Going to listen to Chet's version and slow it down.

@chasesanborn 5 месяцев назад

Chet is great for revealing melodic pathways.

@davidmiles4753 5 месяцев назад

Super explanation and interpretation of this popular standard.

@chasesanborn 5 месяцев назад

Thanks for saying so!

@EspositoMark 5 месяцев назад

Really excellent!

@chasesanborn 5 месяцев назад

Thank you! Cheers!

@benwinstanleymusic 5 месяцев назад

Loved the video, but one point: I think by setting that bar aside to breathe you miss the most beautiful bit of the piece - (in trumpet key) we go from F#maj at the end of the bridge to Gmin at the start of the last A, you can use a D augmented chord, which shares the A#/Bb from the F#maj and serves as a V to the Gmin. In the melody you can hold the A#/Bb note over F#maj, Daug, Gmin for a really nice pedal, and you can play some really crunchy stuff and outline say a Daug7#9 when improvising. Cheers, Ben

@chasesanborn 5 месяцев назад

D augmented is of course the correct chord in that bar. I only suggest the option of laying out to make it simpler for someone who is learning, since it's a lot for the student mind to wrap around an augmented dominant chord taking you from the I chord in the key of E to the VI chord in the key of Ab. (Taking it through 12 keys makes it even more so.) I also give the option of thinking of it as a second bar of E concert which is not precisely correct, but keeps you in the ballpark, and notably with the note you mention, concert G# which carries over for all three bars. In general terms, laying out is always a valid strategic option when you are unsure of the harmony. You can't play a bad note if you play no notes! :)

@benjaminmcclelland2464 5 месяцев назад

Ah if only you uploaded this last week when I was playing this in my small jazz ensemble class

@chasesanborn 5 месяцев назад

Timing is everything!

@benjaminmcclelland2464 5 месяцев назад

@@chasesanborn this is super helpful nonetheless! I'm considering adding it in to the set list for a small gig im doing

@kwekuhodgson1976 4 месяца назад

Thank you for guiding hobbyists like myself down the rabbit hole called music! Would love to read the article „all the 3rds“ you mentioned earlier! Could you by any chance share a link to it? Greetings from Düsseldorf, Germany 🙋🏿‍♂️!

@chasesanborn 4 месяца назад

It was published in the International Trumpet Guild Journal, available online only to members.

@travlak 5 месяцев назад

So much great stuff here. Now, in the bridge, there is often half diminished chords used in the first measure (such as in one of the Aebersold playalongs), and especially in the fifth measure. If you are improvising to standard minor sevenths, is it unlikely to clash with the half diminished sevenths? Same with the B diminished towards the end that you are substituting sometimes with a B minor seventh. Is replacing diminished and half diminished chords with minor sevenths part of a strategy you recommend ?

@chasesanborn 5 месяцев назад

While some people, including Aebersold, use a minor II V at the start of the bridge, I think the outline of the melody suggests a minor seven chord rather than half diminished. Similarly, the major seven melody note in the fifth bar from the end (relative to the key center) suggests b3 diminished, but some might choose the option of descending II Vs on the blowing. That's what is employed on the Aebersold 12-key track. In this video I am trying to present the easiest way to grasp the harmonic structure. In a real playing situation, there are often alternative harmonic options, for example, during the blowing you could use tritone subs for the dominant chords in the second and sixth bars of the bridge, though that would be inappropriate with the melody. Listening and responding to each other is a part of the art, but it's not critical that we play exactly the same chord change on every bar as long as we wind up in the same place. When you are working with a play along you are stuck with what they played at the time of recording. It's an excellent ear training exercise to try and hear where a play along differs from the chord changes you expect or see on a lead sheet from another source.

@MattCarter67 5 месяцев назад

Can I get your books in the UK Chase?

@chasesanborn 5 месяцев назад

My books are only sold through a few dealers, and none in the UK currently. You can order from the website, of course. That entails a shipping charge, but if I shipped the books to a dealer that cost still gets passed on. www.chasesanborn.com