Its verse is rarely sung now, but the chorus has become a favorite with singers and 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. 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 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. 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, and a striking use of enharmonic substitution at the turnaround 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, 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:
