All The Things You Are (D.Sebesky)

Jerome Kern and Oscar Hammerstein II penned "All The Things You Are" for the 1939 musical *Very Warm for May*, little knowing it would rapidly ascend to the upper echelon of the Great American Songbook. Through landmark interpretations by Charlie Parker, Lennie Tristano, and countless modern jazz masters, the composition transformed into one of the most revered vehicles for harmonic exploration in jazz history. Its intricate, cyclical chord progression—famous for its unconventional modulation scheme and rich sequential movement—presents both a formidable challenge and an extraordinary canvas for master orchestrators who wish to push the boundaries of standard big band writing. Don Sebesky’s majestic big band interpretation elevates this timeless standard into a symphonic jazz masterpiece, driven by a lush, sophisticated palette that moves seamlessly between reflective rubato textures and driving, harmonically rich swing sections. The emotional arc of the arrangement shifts dynamically from introspective, impressionistic lyricism to soaring, cinematic climaxes. Sebesky utilizes his signature extended chord voicings and subtle coloristic devices—most notably the inclusion of a full four-horn French horn section alongside traditional big band instrumentation—to create a dense, velvety harmonic backdrop that blurs the line between traditional jazz arranging and contemporary orchestral composition. The structural blueprint of the chart showcases Sebesky's genius for orchestration, distributing thematic material across unexpected instrumental combinations rather than relying solely on standard brass-versus-reed soli writing. The woodwinds and French horns frequently weave intricate counter-melodies around the central theme, while the guitar functions as both a textural chordal voice and an agile linear contributor. Solos are framed by breathtaking transitional interludes that exploit the flat-key shifts of Kern's original bridge. The ensemble demands exceptional dynamic control, particularly during the transition from the subdued, atmospheric intro into the primary groove, ensuring that the tension and release of the harmony are communicated with absolute clarity. Advanced collegiate, professional, and elite community big bands will find this 84-page masterwork a rewarding centerpiece for serious concert programs. Because of its demanding harmonic language, subtle rhythmic shifts, and the specialized requirement of a four-horn French horn section, the chart requires mature musicianship and refined sectional balance. Ensembles capable of navigating its rich textures will discover an arrangement that consistently captivates sophisticated audiences and offers a profound educational experience in advanced jazz orchestration. Conductors approaching this Don Sebesky masterwork must prioritize sectional balance, particularly regarding the integration of the four-horn French horn section with traditional brass and reeds. Blending the French horns smoothly into the chordal fabric requires careful listening from both the brass and the saxophone section to avoid overpowering the warm, mid-range counterlines. Rhythmically, the ensemble must maintain a flexible, breathing pulse during the rubato and slower transitional segments before locking into a crisp, driving swing feel. Precision is paramount in the upper-register trumpet parts and the intricate woodwind passages, which feature complex metric subdivisions and unexpected harmonic resolutions. Rehearsal strategy should begin with sectional work focusing exclusively on intonation within the extended chord voicings. Because Sebesky utilizes non-traditional doubling and chromatic voice-leading, players must hear their pitch in relation to the entire ensemble texture rather than just their immediate section. Balance the dynamic swells carefully; the emotional power of this arrangement relies on understated subtlety just as much as its climactic shout choruses. Q: What specific instruments and parts are included in this arrangement? A: Scored for a 16-instrument big band configuration, the arrangement uniquely features a complete four-part French horn section (French Horns 1 through 4) alongside standard jazz instrumentation including guitar, rhythm section, reeds, and brass. Q: What is the overall difficulty level of this chart? A: This arrangement is designated as advanced/professional, requiring a high degree of technical proficiency, strong sight-reading capabilities, and mature ensemble balance to execute the dense, extended-harmony voicings. Q: How does this arrangement fit into the historical context of jazz standards? A: It takes Jerome Kern’s 1939 Broadway classic and filters it through Don Sebesky’s sophisticated, cinematic arranging style, bridging traditional big band swing with impressionistic, modern jazz orchestration. Q: What makes Don Sebesky's treatment of "All The Things You Are" unique? A: The integration of a full French horn choir, lush chromatic reharmonizations, and unconventional textural pairings elevate the piece from a standard dance-band chart into a concert-grade symphonic jazz work. Q: What is the performance duration and general tempo feel of the piece? A: The arrangement spans 84 pages of detailed score and parts, moving organically from a spacious, atmospheric opening introduction into a sophisticated, driving medium-up swing groove.