ALL THE THINGS YOU ARE ANALYSIS It starts off by establishing the key of B flat major in the first

four measures, with a VI7-II7-V7-I, which one typically finds at the end of a classical piece. In the next four measures, it takes us to a surprising place harmonically with a daring transposition that sheds four flats in three measures, by moving from E flat major 7 (the IV chord in the key of Bb) to G7 which then resolves to C major. Then it jumps back to a key much closer to the original key of B flat major, when the D major chord turns into a D minor chord, and we have a repetition of the initial chord series (VI7-II7-V7-I) but in the key of F, the dominant of B flat so after the digression to the unrelated key of C major, we have returned to a harmonic movement typical of classical movement: modulation to the dominant. However, instead of staying in that key, in a sequence of chords identical to that of measures five to eight, but transposed up a fifth, we modulate to the entirely unrelated key of A major, exactly one half tone below the initial key of B flat major, which means that in the space of sixteen measures, the song has moved almost as far as possible from the originally key. The third eight measures of the piece, the bridge, begins by establishing the key of G major with a typical chord progression II V7 I. Then, however, the second half of the bridge jumps to an unexpected key: F# major. A G sharp half diminished chord forms the II chord in a II, V, I except ordinarily the half diminished chord indicates a minor key, and this progression leads to a E major. The last chord of the bridge, on the twenty-fourth measure, is D Augmented. Harmonically, augmented chords don't fit into any ordinary diatonic scale (except the melodic and harmonic minor scales, which are not, strictly speaking, ordinary), and composers use them to shift keys almost any way they want to. Here it is used to move the harmony back to G minor, which is where the piece began. The last part of the song repeats some of the material from the first part but expands on it, and, unlike the first part, it finally lands squarely in its home tonality: B flat major. The chords in the first five measures of this section are the same as those of the first five measures of the piece, but instead of jumping to an unexpected A7 chord after the E flat major 7, it stays in the tonal territory of Bb and ends with a classic cadence: C min7 - F7 Bb.

ALL THE THINGS YOU ARE REFLECTION Relatively happy with the solo on this take. My approach didn't really change from the beggining to the end. I was really just trying to target chord tones

and outline the changes strongly which i feel i've achieved. The bridge and last "A" section still sound weak to me though and i will continue to work on and practice those. A couple of interesting things i noticed. In the last bar of the first chorus of solo i play a sonny rollins lick over the ii - V. Its A diminished wholetone lick consisting of two dim 7th arpeggios one a semitone below the first. I then play a triple variation on this in bar 6 of the next chorus. This is something that i find really pleasing as these sorts of licks and patterns are something i've been working on a lot lately so its nice to hear it come out in my playing. There is also alot more sequences in my playing on this recording than normal. Again its a case of what i've been working on coming out in my playing. The best example is in the second chorus on the last four bars of the bridge. I play a arpeggio decending from the 9th of each chord in a ii -V - I and i tritone sub the V chord. the creates a chromatically descending sequence that really strongly outlines the chords.