The chorus has become a favorite with many jazz musicians. The chorus is a 36-measure AA2BA3 form with 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. Note: The harmonic analysis demonstrates a functional chord progression using the
circle of fifths. This type of progression generally relies on the roots of the chords being a 4th apart. Taking the main key of measures 1 to 5 as
A-flat major, the chords can be considered as vi–ii–V–I–IV in A-flat major. (Fm7 is the sixth degree in A; Bm7 is second degree in A, etc.) Using a delay cycle, D being the
tritone substitution for G7, the last 3 bars of the A section modulates to the key of C major temporarily. ---- 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. Thus, Fm7 in A becomes Cm7 in A2, Bm7 becomes Fm7, E7 becomes B7, etc. In the same vein, the melody sung over A2 is identical to the A section melody, though every note is also lowered by a perfect 4th. ---- The bridge of this piece, section B, is another example of a functional chord progression in the keys of G major and E Major. In bars 1-4 of this section, it is a simple
ii–V–I progression. Using a common chord substitution, the Fº chord in measure 5 functions as viiº in the key of G major and iiº in the key of E minor. Then using simple
modal mixture, the B7 chord is used to bridge from E minor to E major in bar 7. (Although there is no E minor chord in the composition during this section, the relationship of the Fº chord to E major. Without the technique of
modal mixture, the use of major tonalities and minor tonalities simultaneously, E minor & E major, the F would have been simply minor and introduced an additional pitch, C to the harmony.) The E major 7 voice leads smoothly to C7
altered; for example, lowering the B to B forms Emaj75, or rootless C759. ---- The first five 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 12th measure of the section. The G7 or D minor chord in measure 6 is a
borrowed chord from A minor. The modulations in this song are 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
enharmonic 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 over the F minor 7 of measure 1 of section A3. 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. Its
changes have been used for such
contrafact tunes as "Bird of Paradise" by
Charlie Parker, "Prince Albert" by
Kenny Dorham, "All The Things That You Can C#" by
Charles Mingus, and "Boston Bernie" by
Dexter Gordon. "Thingin'" by
Lee Konitz introduced a further harmonic twist by transposing the chords of the second half of the tune by a
tritone. The verses start with these lines: :Time and again I've longed for adventure :Something to make my heart beat the faster :What did I long for, I never really knew ==Other versions==