All The Things You Are (arr. Janet Whitcomb Pummill): SATB Choral Octavo

Pummill's treatment of this Kern and Hammerstein classic avoids the trap of oversimplification that mars many SATB versions of jazz standards. The arrangement preserves the harmonic sophistication of the original while crafting parts that lie comfortably for singers, and the vocal writing honors the song's lyrical sophistication without sacrificing the swing feel that makes it endure.

Sophisticated and swinging. The harmonic language is rich enough to satisfy musicians while the melody remains lyrical and singable, creating that distinctive feeling of elegant accessibility that jazz standards at their best provide. Your singers will feel the weight of real harmony beneath their lines.

Advanced high school and collegiate choirs ready to tackle the vocal and rhythmic demands of jazz standards. Your singers need secure sight-reading skills and familiarity with swing articulation, but the payoff is a standard that audiences adore and that develops genuine stylistic flexibility.

• Shape the phrasing through the harmonic changes rather than relying on breath marks; the song's architecture depends on understanding how the chord progression drives the melodic contour.
• Balance is critical in a piece this harmonically dense. Use sectional rehearsals to isolate inner voices, ensuring the Altos and Tenors anchor their supporting harmonies with confidence so the Sopranos can float the melody.
• Establish the groove early in rehearsals by singing alongside a swing recording or playing one for reference. The rhythmic precision needed here differs fundamentally from classical approaches to choral blend.
• Let the lyrics breathe; resist the temptation to rush through the text even when the harmonic rhythm quickens.

This works beautifully on a concert pairing concert music with an evening of standards, or as the cornerstone of a jazz-focused choral concert. Positioning it among other Kern or Rodgers and Hammerstein arrangements creates historical context, while its length and character also make it valuable as a sophisticated closer to a mixed program.

• Swing articulation and rhythmic feel in a choral context
• Reading and performing jazz harmony and seventh chords
• Balancing complex inner voices while supporting a solo melody line
• Phrasing through harmonic changes rather than phrase marks
• Stylistic awareness of standards arrangement conventions