All The Things You Are (R.Holmes)

Jerome Kern's "All The Things You Are," with lyrics by Oscar Hammerstein II, first premiered in the 1939 Broadway musical *Very Warm for May*. Despite the show's short run and poor reviews, the song itself was an immediate success, almost instantly recorded by popular bands like Tommy Dorsey's and Artie Shaw's orchestras in 1940. It quickly transcended its Broadway origins to become a cornerstone of the Great American Songbook and an indispensable jazz standard. Its enduring appeal to jazz musicians stems from its sophisticated harmonic structure, characterized by frequent, often daring, modulations through several keys, including A-flat, C, E-flat, and G. This harmonic complexity, particularly its journey through the circle of fifths and Stephen Sondheim's observation that the tonic isn't stated until the final chord, makes it a rich canvas for improvisation and arrangement, distinguishing it from many other standards of its era. This big band vocal arrangement by R.Holmes reimagines the classic standard with a vibrant, medium swing feel, typically set in a comfortable tempo around 120-140 BPM. The arrangement maintains the original's romantic and expansive mood but injects it with a contemporary big band energy. The core key of Ab major is explored with dynamic harmonic shifts, evoking both the lushness of Kern's original composition and the sophisticated harmonic language characteristic of modern jazz arranging. The mood is one of elegant swing, building from a warm, expressive introduction to powerful, full-ensemble statements, creating a journey that is both familiar and freshly exciting. R.Holmes, likely referring to Roger Holmes, is known for his accessible yet sophisticated arrangements for jazz ensemble, often featuring vocalists. His approach typically balances fidelity to the original melody and harmony with inventive voicings and dynamic ensemble writing. In this arrangement, expect carefully crafted soli sections that showcase the saxophone and brass sections, often featuring tight, harmonized lines that add texture and drive. The shout chorus is a highlight, building intensity with layered brass and sax figures, culminating in a powerful climax that fully utilizes the big band's sonic palette. Holmes’s signature is often found in his ability to make complex harmonic movements feel natural and swinging, employing extended harmonies that enrich the standard's already advanced chord changes without obscuring its melodic integrity. The arrangement features the vocalist prominently, carrying the initial melody and often returning for subsequent choruses, allowing for expressive interpretation. There are typically featured solo sections, often for tenor saxophone or trumpet, providing opportunities for improvisation over the song's challenging yet rewarding harmonic progression. Technical challenges include precise articulation in the soli sections, maintaining a consistent and energetic swing feel throughout, and navigating the harmonic modulations with accuracy and blend. The rewarding aspects lie in the ensemble's ability to execute these intricate parts cohesively, delivering a performance that is both musically intelligent and emotionally resonant. This arrangement is ideally suited for college and advanced high school jazz ensembles, as well as community big bands and professional groups seeking a fresh, engaging take on a beloved standard. Its detailed scoring and thoughtful construction provide ample material for musical growth and a polished performance. Conductors should emphasize a relaxed, medium swing feel from the outset, ensuring the rhythm section lays down a solid, grooving foundation. Pay close attention to the dynamic contrasts, particularly in the soli sections, where precise articulation and balance are crucial for clarity. The harmonic modulations, a hallmark of this piece, require careful rehearsal; woodwind and brass sections should practice these transitions slowly to ensure intonation and smooth voice leading. Encourage the vocalist to interpret the melody with warmth and conviction, allowing their phrasing to breathe within the ensemble's support. For the featured solos, provide ample space for improvisers to explore the rich harmonic landscape, perhaps suggesting specific scale choices or arpeggiations over the more challenging chord changes. Rehearsal should also focus on the build-up to the shout chorus, ensuring a unified, powerful sound without overblowing. Specific techniques like brass falls or sax scoops should be executed with stylistic awareness and uniformity across the section. **Q: What instruments and parts are included in this arrangement?** A: This big band vocal arrangement typically includes parts for a standard big band instrumentation: 5 saxophones (2 alto, 2 tenor, 1 baritone), 4 trumpets, 4 trombones, a full rhythm section (piano, bass, drums, guitar), and a dedicated vocal lead sheet. **Q: What is the difficulty level of this arrangement?** A: This arrangement is considered advanced intermediate to advanced. It is suitable for college and proficient high school jazz ensembles, as well as community and professional big bands, due to its harmonic complexity, intricate soli sections, and demands on ensemble precision. **Q: What is the musical style and historical context of "All The Things You Are"?** A: "All The Things You Are" is a timeless jazz standard originating from Jerome Kern's 1939 Broadway musical *Very Warm for May*. It embodies the sophisticated harmonic language of the Great American Songbook era, known for its romantic melody and challenging chord changes that have made it a favorite among jazz musicians. **Q: What makes R.Holmes's arrangement of this standard unique?** A: R.Holmes's arrangement stands out for its vibrant medium swing feel, contemporary big band voicings, and dynamic ensemble writing. It features well-crafted soli sections, a powerful shout chorus, and sophisticated harmonic extensions that refresh the classic standard while honoring its original character. **Q: What is the typical performance duration and tempo for this arrangement?** A: The typical performance duration for this arrangement is approximately 4-5 minutes, depending on the length of improvised solos. It is designed to be performed at a medium swing tempo, generally ranging from 120 to 140 beats per minute.