All The Things You Are

All The Things You Are

Key – Ab Major (Fminor)

Form – A A B A

This piece conists of flavoured chords (my favourites) such as major 7ths, 9ths dominant 7ths,9ths minor 7ths,9ths so it already givces off the impression that it’s not your conventional piece. These are the chords supplied with the notes attached:
F-7 – F Ab C Eb
Eb7 – Eb G Bb Db
Abmaj7 – Ab C Eb G
A-7b5 – Ab B D Gb
C+7 – C E G# Bb (Augmented)
Bo7 – B D F Ab
C7#9 – C E G Bb D#

Bars 1 – 8
The first 5 bars are in Ab major and follow the chord progression of 6, 2, 5, 1, 4….going into a 2-5-1 (ii V I) in the key of C major. Due to C minor 7 being closer to the key of Ab major it has the transition over the C major 7 which in conventional terms the listener would be more inclined to expect. The ii-V-I in bars 6&7 resolves to the parallel major as Cm is the expected key.

Bars 9 – 16
Similar to section 1 the first 5 bars follow the same chord progression of 6, 2, 5, 1, 4, but in the key of Eb major. This change of key was created at bars 8 and 9 where a ‘parallel minor’ was used, going from a Cmaj7 to a C-7….a parallel minor is the minor key based on the same root note as the origin, here we have C major to C minor where C is the root note. So the modulation on bars 6 to 7 using the 2, 5, 1 to change into the Cmaj7 then into the C minor 7 with a parallel minor, leading to Eb major, similar to section 1 the last 3 bars become a ii V I in the key of Gmaj7.  Bars 14&15, Gmaj7 is the parallel major. Bars 9-16 is the same as 1-8 but modulated a perfect 5th higher.  The C+7 is an enharmonic pivot chord, on one level it is the altered dominant 7th chord of the Fm7 in bar 25, but the basic triad of C+ is exactly the same as E+ (E, G#, B#), and just one note different from the Emajor triad (E, G#, B), so it links the 2 keys of Emajor and Fm.

Bars 17 – 24
The first 4 bars of this section follows on the ii-V-I from section 2, in the same key using the A-7-D7-Gmaj7. Then it leads into another ii-V-I in the key of E major. Then the last 2 bars with the Emaj7 and C+7, the C+7 shares some notes to the Emaj7, these notes being E and G#, which almost makes sense but it still sounds non-diatonic, the B section is apparent due to it’s unfamiliarity with the rest of the status quo

Bars 25 – 36.
25 – 30 to start with are very similar to bars 1-8 , a 6, 2, 5, 1, 4 in the key of Ab Major (vi, ii, V, I, IV). Following on the chord progression goes down in semi-tones creating a chromatic movement from the Db-7 to the Bb-7. Leading into the same 3 chords in section 1 and the first part to section 4, Bb-7, Eb7 and Abmaj7. Then for the last 2 chords it creates a minor ii-V-I back into the start of the chords again…..also known as a minor turnaround.


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