How to Improvise Over All The Things You Are

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All The Things You Are is a popular jazz standard by Jerome Kern, and is one of those songs that every jazz musician needs to know. It’s often called at jam sessions and gigs and has a lot to teach us about music and jazz harmony.

Because of its popularity, All The Things You Are is often on the short list of songs that beginners should learn. However, this song is not very beginner friendly. It has an advanced harmonic structure with lots of twists and turns.

With swarms of chord changes going by and movements into five different key centers, this standard can be quite a challenge to improvise over! But despite its challenges, like all things, it can be simplified.

Let’s walk through this tune together, analyze it, and explore ways to approach our improvisation. For the sake of demonstration, this will be quite methodical. It doesn’t have to be this way every time you approach a new jazz standard. However, it can be helpful to break things down this way.

We go over this kind of stuff and much more in my eBook The Jazz Standards Playbook if you want to get further help.

Let’s do this!

1. Listen to the tune.

I know this is not ground-breaking new information, but it’s easily the most important step. Believe it or not, I find that a lot of students immediately go looking for sheet music or improvising tricks before even familiarizing themselves with the song. The best thing you can do as a jazz improviser is to listen. Listen to lots of different versions of the song and saturate your ear with it.

This is an important step, but mostly common sense, so let’s move on.

2. Learn the melody and chord changes by ear.

If you follow our blog or podcast, you know that we preach learning jazz standards by ear all of the time. Don’t go straight to the sheet music! It should be your last resort or your final check of your work.

How is this going to help you improvise over this song? Obviously, you should know All The Things You Are before you attempt soloing over it. If you don’t know it, how can you truly improvise over it? Also, by learning it by ear, and not with sheet music, you are exercising your ear.

The most important aspect of becoming a great jazz improviser is having a great ear. Developing the ear comes with practice, and the best way to do that is to learn jazz language by ear. Do the work, and it will pay off!

3. Map out the song.

Okay, here’s where we start to get into the details and analyze All The Things You Are. When it come to improvising in jazz, I have a very important rule:

The Jazz Improv Rule:

To become a great jazz improviser, you need to understand jazz harmony.

In other words, once you’ve learned the song, the first place you go is not to what scales you should play, but rather ask the question “how does the harmony work?”

We need to analyze the harmonic structure of All The Things You Are. That means looking at what chords and chord progressions we are dealing with, how they relate to each other and where they lead to.

To start, let’s take a look at the chord changes and then we’ll dig in a bit further.

Step 1: Define the harmony.

All the things you are 1all the things you are 2The first things to notice are:

  • ATTYA has a 36 bar form.
  • ATTYA has an AABA form.

AABA form simply means we are organizing the song into 4 sections. For the sake of this song, it would be better to label it: A1-A2-B-A3. The A sections are all similar but each one has a variation that makes them different. The B section is unique to the A sections. Take a look at the different sections and identify the differences and the similarities.

So now we have defined the harmony. To you, this may just look like a lot of chords. What do you do with it? In the next step, we need to simplify it.

Step 2: Simplify by defining the key centers.

As I’ve already mentioned, and hopefully you’ve noticed, All The Things You Are does not stay diatonic to one key center. The tune is essentially in concert Ab, but it navigates to 5 different key centers. It is best to think of this song that way, rather than try to relate every single chord to Ab.

So let’s define the key centers. Once we map them out, you will already start to see the harmonic structure with more clarity:

all the things key centers 1

all the things key centers 2

As you can see, I have color coded the key centers.

Blue= Ab major

Orange= C major

Red= Eb major

Yellow= G major

Green= E major

I want you to realize that even if you just played a major scale corresponding to the given key center you are in, you will be playing notes that work. Please don’t get me wrong. Playing a major scale is not true improvisation, nor will it outline the chord changes properly, but this may help you start to simplify the harmony in your mind.

Now, you may be looking at this and wondering how I know which chords are assigned to the different key signatures. That’s where a Roman Numeral analysis can come in handy.

Step 3: Define the function of each chord with Roman Numerals. 

If you don’t understand how Roman Numerals work with analyzing chords, I highly suggest you open up this lesson in a new tab: How to Harmonize a Major Scale with 7th Chords. This explains how we come up with chord progressions and what each Roman Numeral means.

All The Things You Are is a popular jazz standard by Jerome Kern, and is one of those songs that every jazz musician needs to know. It’s often called at jam sessions and gigs and has a lot to teach us about music and jazz harmony.

Because of its popularity, All The Things You Are is often on the short list of songs that beginners should learn. However, this song is not very beginner friendly. It has an advanced harmonic structure with lots of twists and turns.

With swarms of chord changes going by and movements into five different key centers, this standard can be quite a challenge to improvise over! But despite its challenges, like all things, it can be simplified.

Let’s walk through this tune together, analyze it, and explore ways to approach our improvisation. For the sake of demonstration, this will be quite methodical. It doesn’t have to be this way every time you approach a new jazz standard. However, it can be helpful to break things down this way.

We go over this kind of stuff and much more in my eBook The Jazz Standards Playbook if you want to get further help.

Let’s do this!

1. Listen to the tune.

I know this is not ground-breaking new information, but it’s easily the most important step. Believe it or not, I find that a lot of students immediately go looking for sheet music or improvising tricks before even familiarizing themselves with the song. The best thing you can do as a jazz improviser is to listen. Listen to lots of different versions of the song and saturate your ear with it.

This is an important step, but mostly common sense, so let’s move on.

2. Learn the melody and chord changes by ear.

If you follow our blog or podcast, you know that we preach learning jazz standards by ear all of the time. Don’t go straight to the sheet music! It should be your last resort or your final check of your work.

How is this going to help you improvise over this song? Obviously, you should know All The Things You Are before you attempt soloing over it. If you don’t know it, how can you truly improvise over it? Also, by learning it by ear, and not with sheet music, you are exercising your ear.

The most important aspect of becoming a great jazz improviser is having a great ear. Developing the ear comes with practice, and the best way to do that is to learn jazz language by ear. Do the work, and it will pay off!

3. Map out the song.

Okay, here’s where we start to get into the details and analyze All The Things You Are. When it come to improvising in jazz, I have a very important rule:

The Jazz Improv Rule:

To become a great jazz improviser, you need to understand jazz harmony.

In other words, once you’ve learned the song, the first place you go is not to what scales you should play, but rather ask the question “how does the harmony work?”

We need to analyze the harmonic structure of All The Things You Are. That means looking at what chords and chord progressions we are dealing with, how they relate to each other and where they lead to.

To start, let’s take a look at the chord changes and then we’ll dig in a bit further.

Step 1: Define the harmony.

All the things you are 1all the things you are 2The first things to notice are:

  • ATTYA has a 36 bar form.
  • ATTYA has an AABA form.

AABA form simply means we are organizing the song into 4 sections. For the sake of this song, it would be better to label it: A1-A2-B-A3. The A sections are all similar but each one has a variation that makes them different. The B section is unique to the A sections. Take a look at the different sections and identify the differences and the similarities.

So now we have defined the harmony. To you, this may just look like a lot of chords. What do you do with it? In the next step, we need to simplify it.

Step 2: Simplify by defining the key centers.

As I’ve already mentioned, and hopefully you’ve noticed, All The Things You Are does not stay diatonic to one key center. The tune is essentially in concert Ab, but it navigates to 5 different key centers. It is best to think of this song that way, rather than try to relate every single chord to Ab.

So let’s define the key centers. Once we map them out, you will already start to see the harmonic structure with more clarity:

all the things key centers 1

all the things key centers 2

As you can see, I have color coded the key centers.

Blue= Ab major

Orange= C major

Red= Eb major

Yellow= G major

Green= E major

I want you to realize that even if you just played a major scale corresponding to the given key center you are in, you will be playing notes that work. Please don’t get me wrong. Playing a major scale is not true improvisation, nor will it outline the chord changes properly, but this may help you start to simplify the harmony in your mind.

Now, you may be looking at this and wondering how I know which chords are assigned to the different key signatures. That’s where a Roman Numeral analysis can come in handy.

Step 3: Define the function of each chord with Roman Numerals. 

If you don’t understand how Roman Numerals work with analyzing chords, I highly suggest you open up this lesson in a new tab: How to Harmonize a Major Scale with 7th Chords. This explains how we come up with chord progressions and what each Roman Numeral means.

 

BEFORE YOU CONTINUE...

If you struggle to learn jazz standards by ear, memorize them, and not get lost in the song form, then our free guide will completely change the way you learn tunes forever.

Learn Jazz Standards The Smart Way Ebook Cover

Here’s a crash course though:

  • The number of the numeral represents the scale tone it represents in the corresponding scale.
  • Lower case or upper case defines the quality of the chord. If it’s lower case, it’s a minor 7, half-diminished, or diminished 7. If it’s upper case, it’s a major 7 or dominant 7.

All the things numerals 1 1

all the things numerals 2

To help make this clear, I’ve circled all of the “I” chords that define the key centers in their corresponding colors that I assigned earlier.

Take some time to look through this and confirm your understanding of each chords function to the key centers. Remember, understanding the harmony is essential for improvising over it with competence.

Step 4: Define key chord progressions.

Now, if defining the key centers helped us simplify the harmony, defining the key chord progressions will help even further. Looking through for yourself, can you find any progressions that repeat themselves?

If you said ii-V-I, you nailed it. The major and minor ii-V-I are the most common progressions in jazz and All The Things You Are is almost entirely comprised of them. There are vi and IV chords separating them sometimes, but other than that everything is just ii-V-I’s (save for bars 29-32).

So would learning some ii-V-I licks and pieces of jazz language be helpful? You bet it would.

The best thing to do is go to recordings of great jazz musicians and find ii-V-I licks that you like and learn them by ear. Not only will you know you are learning great language, you will be exercising your ear.

However, to help you get started, try out this ii-V-I lick:

Ex 33

Ex 33That’s is a long ii-V-I. Here’s a short ii-V

Ex 34

Ex 34 1What do you do with these licks after you’ve learned them?

  1. Take them into all 12 keys.
  2. Practice playing the licks over every ii-V-I in ATTYA.
  3. Make variations of your own.

Step 5: Define the 3rds and 7ths

We have a whole lesson dedicated to this in our eBook Zero to Improv, a book that teaches you how to become a great jazz improviser from the ground up. But let me just quickly summarize the importance of 3rds and 7ths.

These are the defining notes of every chord. If you understand how 7th chords are constructed, you will realize the differences between each are primarily the 3rds and 7ths. This means if you want to hear the difference between the chords you are playing, you will want to know what the 3rds and 7ths are.

I’m going to take just the first two A sections of ATTYA from an exercise in the Zero to Improv book. Essentially, we are just defining the 3rds and 7ths of each chord.

3rds 7ths ATTYA

Here’s this same portion of the Exercise for Bass Clef instruments:

Bass clef 3rds 7thsOn each chord, we start with the 3rd and move to the 7th. What you’ll probably notice is when chords are moving in fourths (like they do in ATTYA) the 7ths resolve step-wise into the 3rd of the next chord. This is called voice leading, another concept that is talked about further in Zero to Improv.

Step 6: Connect the dots by creating melodies.

Ultimately, you want to start making some music, not just analyzing and breaking things apart. Though this is not true improvisation, it can be helpful to compose your own solo to try to connect the dots. Ultimately, improvisation is simply composition sped up. So practicing composition in its “slow” form can be a great exercise for becoming a great improviser.

Here are the first two A sections from an etude based on All The Things You Are, that can be found in our eBook 15 Essential Jazz Etudes.

All these things etude

Here it is for Bass Clef instruments:

All these things bass

4. Practice improvising.

This final step may seem obvious, but it’s important all the same. There are no shortcuts to becoming a great improviser. You need to be listening to the greats, learning the language, and analyzing it so that you understand the harmony.

Turn on a metronome, play-along, or better yet, find a friend and get to practicing! The more you wrestle with these chord changes the better you will get. It’s all about becoming familiar with the tune and learning by trial and error.

If you want more chords analysis and improv lessons over jazz standards like this, check out The Jazz Standards Playbook eBook and Companion Course.

Best of luck and happy practicing!

Here’s a crash course though:

  • The number of the numeral represents the scale tone it represents in the corresponding scale.
  • Lower case or upper case defines the quality of the chord. If it’s lower case, it’s a minor 7, half-diminished, or diminished 7. If it’s upper case, it’s a major 7 or dominant 7.

All the things numerals 1 1

all the things numerals 2

To help make this clear, I’ve circled all of the “I” chords that define the key centers in their corresponding colors that I assigned earlier.

Take some time to look through this and confirm your understanding of each chords function to the key centers. Remember, understanding the harmony is essential for improvising over it with competence.

Step 4: Define key chord progressions.

Now, if defining the key centers helped us simplify the harmony, defining the key chord progressions will help even further. Looking through for yourself, can you find any progressions that repeat themselves?

If you said ii-V-I, you nailed it. The major and minor ii-V-I are the most common progressions in jazz and All The Things You Are is almost entirely comprised of them. There are vi and IV chords separating them sometimes, but other than that everything is just ii-V-I’s (save for bars 29-32).

So would learning some ii-V-I licks and pieces of jazz language be helpful? You bet it would.

The best thing to do is go to recordings of great jazz musicians and find ii-V-I licks that you like and learn them by ear. Not only will you know you are learning great language, you will be exercising your ear.

However, to help you get started, try out this ii-V-I lick:

Ex 33

Ex 33That’s is a long ii-V-I. Here’s a short ii-V

Ex 34

Ex 34 1What do you do with these licks after you’ve learned them?

  1. Take them into all 12 keys.
  2. Practice playing the licks over every ii-V-I in ATTYA.
  3. Make variations of your own.

Step 5: Define the 3rds and 7ths

We have a whole lesson dedicated to this in our eBook Zero to Improv, a book that teaches you how to become a great jazz improviser from the ground up. But let me just quickly summarize the importance of 3rds and 7ths.

These are the defining notes of every chord. If you understand how 7th chords are constructed, you will realize the differences between each are primarily the 3rds and 7ths. This means if you want to hear the difference between the chords you are playing, you will want to know what the 3rds and 7ths are.

I’m going to take just the first two A sections of ATTYA from an exercise in the Zero to Improv book. Essentially, we are just defining the 3rds and 7ths of each chord.

3rds 7ths ATTYA

Here’s this same portion of the Exercise for Bass Clef instruments:

Bass clef 3rds 7thsOn each chord, we start with the 3rd and move to the 7th. What you’ll probably notice is when chords are moving in fourths (like they do in ATTYA) the 7ths resolve step-wise into the 3rd of the next chord. This is called voice leading, another concept that is talked about further in Zero to Improv.

Step 6: Connect the dots by creating melodies.

Ultimately, you want to start making some music, not just analyzing and breaking things apart. Though this is not true improvisation, it can be helpful to compose your own solo to try to connect the dots. Ultimately, improvisation is simply composition sped up. So practicing composition in its “slow” form can be a great exercise for becoming a great improviser.

Here are the first two A sections from an etude based on All The Things You Are, that can be found in our eBook 15 Essential Jazz Etudes.

All these things etude

Here it is for Bass Clef instruments:

All these things bass

4. Practice improvising.

This final step may seem obvious, but it’s important all the same. There are no shortcuts to becoming a great improviser. You need to be listening to the greats, learning the language, and analyzing it so that you understand the harmony.

Turn on a metronome, play-along, or better yet, find a friend and get to practicing! The more you wrestle with these chord changes the better you will get. It’s all about becoming familiar with the tune and learning by trial and error.

If you want more chords analysis and improv lessons over jazz standards like this, check out The Jazz Standards Playbook eBook and Companion Course.

Best of luck and happy practicing!

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in just 30 days without mind-numbing hours of practice or the overwhelm.

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in as little as 30 days without mind-numbing hours of practice or the overwhelm.

“Jazz music is the power of now. There is no script. It’s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.”
WYNTON MARSALIS

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Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

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Learn Jazz Standards Messaging Terms & Conditions

Effective Date:

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

  1. General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
  2. Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
  3. Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
  4. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
  5. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
  6. Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
  7. Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]

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Get our FREE "How to Improvise Over All The Things You Are" chord chart and our entire library of 200+ jazz standards!

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DOWNLOAD THIS CHORD CHART

Get our FREE "How to Improvise Over All The Things You Are" chord chart and our entire library of 200+ jazz standards!

Chord Chart