So, we're gonna take another
shot at all the things you are.
I was kinda locked in myself into
very technical exercises, and
explanations of neighbor tones and
I just wanna kinda play
freely through it once.
And before I do,
I wanna talk about an element of
this song that's very important.
It goes through several keys,
so there are modulations in it.
And I thought this is a good song for
us to talk about modulations.
Mm-hm, I've talked about
how certain chords.
Are taken from other guys and
put in diatonically.
But this one actually changes keys quite,
Part of this makes it a really
good practice vehicle.
I've been playing all the things
you are for so many years, and for
many hours at the various
times of my life, and
it's a really good one for
us to focus on and use.
You probably can go to many,
many sessions and
this will be a song that everybody knows.
And I think it's a good one
to work on kinda in depth.
So it starts off in F minor.
And that's the relative minor of A-flat,
so it's really in the key of A-flat for
And it, it lands on A-flat.
F minor, B-flat minor, E-flat seven,
then you get to the major,
the one chord, four chord D-flat.
And then all of a sudden,
there's a little two, five to C.
Well there's your first modulation.
So, we're not like,
borrowing chords there.
You know, or interjecting something from
another key as a five, seven of something.
This actually is a straight
modulation into a new key.
And then it modulates,
really again, to its own minor key.
It modulates to C minor, which is.
Which is really the key of E-flat.
That's the relative minor of E-flat.
And it circles around till it
gets to the center of that key.
That's minor 7, D-flat 7, and
there you are on the one chord,
the four chord, and here it comes again.
Two flat to G major 7, so
that's a direct modulation.
Brand new key.
So that's the A flat, C, E flat,
now G, already four keys in this song.
Stays in G for awhile.
Two, five, one.
And then it modulates again.
And this is a kind of a pivot,
what you would call a pivot.
Because it goes to,
kind of an F-sharp minor eleven,
to B 7, so it could be five,
seven of six, right?
Cuz in G, the 6th chord is E minor.
So if it went F-sharp minor.
B 7, E minor.
You'd still be staying, more or
less, in the G major tonal area.
But actually it goes right to E major.
To, to even a new key.
So we've got A-flat, C, E-flat, G,
and now E, five keys.
And then to finish the song,
it modulates, it just hits a C 7, and
modulates back to A-flat for
the rest of the song.
That's what's called the turnaround.
C 7 turns us around to A-flat,
B-flat, E-flat, A-flat,
D-flat, D-flat minor, C minor 7,
B-flat, B diminished.
It says in A-flat for
the rest of the song.
it's a great example of shifting
tonal centers in a song.
Take a look at it on paper.
You'll have it on the site.
You can download it, and you can analyze
it and say, okay, here it's moving
through the chords in A-flat, and
right after it does, it modulates right
away to the key of C, and it changes
almost immediately to the key of E-flat.
Moves through a few tonal, of the,
the tonal center of E-flat.
And then boom, right into G.
Was right into E major and then,
back to A-flat for the rest of the song.
Kind of map it out, and you can,
that'll help you visualize how you're
gonna approach the tonal centers,
and the note collections that you're gonna
use to play in each part of the song.
With that in mind, let's see what notes
I choose, the time, through the song.
Here's just a free wheeling
solo on All the Things You Are.