All The Things You Are

All The Things You Are – Solo Breakdown Using Greg Fishman's Hip Licks for Guitar www.willkriski.com Here is a breakdown of a solo I did over All The Things You Are, so you can see how I use Greg's licks in a solo. All The Things You Are starts with a vi ii V I IV progression in the key of Ab. So we need to come up with something to play over the vi chord (Fm7) and connect it to a ii V I lick. I opted to start with an ascending Fm9 arpeggio (Lick #99 measure 1 from Hip Licks transposed). The lick would normally end on D (the 3rd of Bb7) but since we're in the key of Ab I land on the Db before starting the ii V I lick.

Next I insert a ii V I lick in the key of Ab (Lick #97 from Hip Licks transposed). If you use a lick that has two bars of the I chord it will often work over a IV chord. That is, ii V I I works over ii V I IV

After I finish the ii V I lick I leave a bit of space and repeat the last 4 notes of the lick over the G7 chord. This is interesting because the Eb note is now part of a G7#5 chord. I also end the motif on B to reflect the 3rd of G7. This is a great way to develop your lines. Use the end of one lick, repeat it one or more times over different chords, adjusting to fit the chord.

Over the Cmaj7 I take a little idea which is a little scalar motif, used in many sequences (the end of Lick #98 transposed but instead of ending on the high G I go to the lower G). Then I repeat the idea over Cm7 providing continuity and motif development.

Over the ii V I IV in the key of Eb I insert another lick (Lick #103 with one extra note - Eb - at the end).

In the above lick, note the rhythm at the end of the lick which is an eighth note, then a rest followed by 2 eighth notes. I repeat this rhythm over the Gmaj7. Prior to the Gmaj7 I play an idea (based on Lick #97 over the G+7b9 transposed). So the idea there is that depending on where you are in the form you can just play part of a lick. Also note that when you play a descending augmented triad the #5 over the Dominant 7 chord (Bb) often leads down a half step to the 9th of the major 7 chord that follows (A).

Over the ii V I in the key of G I insert the following lick (Lick #105 transposed).

I then insert a similar lick over the minor ii V I that is approached chromatically and then ends on Emaj7 instead of Em7 (Lick #146 transposed). The lick starts with the same notes and rhythm. so that provides some continuity.

The end of the lick is adjusted to match the C7aug so I decided to do an ascending augmented triad to get to the Fm7 chord that is approaching. I use a quarter note and 2 eighth notes which you'll notice is repeated a little later and is basically the same as the previous motif I used.

Over the same ii V I IV from the beginning of the song I use a new lick (Lick #98 transposed with added Ab at end).

Note how the lick ends over the Dbmaj7– with a eighth note, an eighth note rest followed by two eighth notes with the last one tied to a half note. I repeat this idea a few times over the Dbmin7 and Bdim7. Note how the motif starts on C over Dbmaj7, descends to B over the Dbmin7, then I use the note Bb over Cm7 – so it's good to note when lines descend in a linear, logical fashion – which is known as voice leading.

Over the Cm7 I used a short minor 7 idea (from the first measure of Lick #106) then tied it to that the rhythmic motif I mentioned above.

I then end the tune on a ii V I lick over Bm7 Eb7 Abmaj7 (Lick #107 transposed) before returning to that motif once again.

As I mentioned I add a note to the final lick and then ended on E over C7, then repeat the lick ending on F for the Fm7 on the beginning of the 2nd chorus. This is the voice leading I mentioned earlier moving from E to F is a nice half step movement over C7 to Fm7. There you have it. I hope this helps you to use licks in your own solos! Will Kriski