Charlie Parker

All the Things You Are- Charlie Parker

The main chorus has become a favorite for jazz musicians.The chorus is a 36-measure AA₂BA₃ form that features two twists on the usual 32-bar AABA song-form: A₂ transposes the initial A section down a fourth, while the final A₃ section adds an extra four bars.

The chords of the A₂ section precisely echo those of the initial eight measure A section, except the roots of each chord in the initial A section are lowered (transposed down) by a perfect 4th interval. So Fmi7 in A becomes Cmi7 in A ₂, Bbmi7 becomes Fmi7, Eb7 becomes Bb7, etc. In the same vein, the melody sung over A₂ is identical to the A section melody except every pitch of every melody note is also lowered by a perfect 4th interval.

The first 5 measures of A₃ are identical to the initial 8 measure long A and A₂ sections. In the 6th measure, A₃ takes a new path that does not come to an end until the 12 measure of the section.

The modulations in this song are very unusual for a pop song of the period, and present challenges to a singer or improviser, including a semitone modulation that ends each A section (these modulations start with measure 6 in the A and A₂ sections and measure 9 of the A₃ section), and a striking use of enharmonics substitution at the turnaround of the B section (last two measures of the B Section), where the G# melody note over a E major chord turns into an A-flat over the F minor 7th of measure 1 of section A₃. The result is a tune that in the space of every chorus manages to include at least one chord built on every note of the Western 12-tone scale.

Because of its combination of a strong melody and challenging but logical chord structure, "All the Things You Are" has become a popular jazz standard.

"Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art."-Charlie Parker

When Parker was still a child, his family moved to Kansas City, Missouri, where jazz, blues and gospel music were flourishing. His first contact with music came from school, where he played baritone horn with the school’s band. When he was 15, he showed a great interest in music and a love for the alto saxophone. Soon, Parker was playing with local bands until 1935, when he left school to pursue a music career.

From 1935 to 1939, Parker worked in Kansas City with several local jazz and blues bands from which he developed his art. In 1939, Parker visited New York for the first time, and he stayed for nearly a year working as a professional musician and often participating in jam sessions. The New York atmosphere greatly influenced Parker's musical style.