Arranging All The Things You Are for Big Band: Insights on Lead Sheets and Euphonium Harmonies

David Woodard
May 9
3 min read

Arranging a classic like All The Things You Are by Jerome Kern for a big band setting is both a challenge and a rewarding experience. This timeless piece offers rich harmonic content and melodic beauty that can shine in many ensemble formats. Currently, the focus is on creating a detailed lead sheet and exploring how to expand the harmonies specifically for euphonium and low brass ensembles. This post shares insights and practical steps from this arranging journey, aiming to help musicians and arrangers who want to deepen their understanding of big band arrangements and low brass harmonization.

Understanding the Lead Sheet for Big Band

A lead sheet is the foundation of any arrangement. It contains the melody, chord symbols, and basic structure. For a big band, the lead sheet must be clear and flexible enough to guide the entire ensemble.

Melody clarity is crucial. The lead sheet should present the melody in a way that is easy to read and interpret by all sections, especially the saxophones and trumpets, which often carry the tune.
Chord symbols need to be accurate and detailed. All The Things You Are features complex chord changes, including many ii-V-I progressions and modulations. Writing out the chords precisely helps the rhythm section and soloists navigate the harmonic landscape.
Form and repeats should be clearly marked. Big bands often use shout choruses and dynamic contrasts, so indicating these in the lead sheet helps the arranger and conductor plan the flow.

When working on the lead sheet, it’s helpful to listen to multiple recordings of the tune. This reveals how different artists interpret the melody and harmony, providing ideas for phrasing and rhythmic feel.

Expanding Harmonies for Euphonium and Low Brass

The euphonium and low brass section add a unique depth and warmth to a big band. Arranging for these instruments requires attention to their range, tone, and role within the ensemble.

Voice leading is essential. Smooth transitions between chords keep the harmony flowing naturally. For example, when moving from a G7 chord to a Cmaj7, the euphonium can move from the F (7th of G7) down to the E (3rd of Cmaj7), creating a pleasing line.
Chord extensions and alterations enrich the sound. Adding 9ths, 11ths, and 13ths in the euphonium parts can create lush textures. For instance, on a Dm7 chord, including the 9th (E) or 11th (G) adds color without cluttering the harmony.
Balancing texture is key. The low brass should support the harmony without overpowering other sections. Writing parts that complement the trombones and tubas while filling out the chord structure helps maintain clarity.

A practical approach is to start with the basic chord tones for the euphonium and then add tasteful extensions. Experimenting with different voicings can reveal which combinations sound best in the ensemble context.

Practical Tips for Arranging

Here are some useful strategies when arranging All The Things You Are for big band and low brass:

Use the melody as a guide. Even when writing complex harmonies, keep the melody prominent. The euphonium parts should never clash with the main tune.
Create call-and-response sections. The low brass can answer phrases played by the saxophones or trumpets, adding interest and variety.
Incorporate rhythmic variety. Euphonium lines don’t have to be static. Syncopation and rhythmic motifs can make the parts more engaging.
Consider the players’ abilities. Euphonium players vary in skill, so avoid overly difficult passages that might disrupt the ensemble’s cohesion.
Test the arrangement live. Hearing the parts played together reveals what works and what needs adjustment.

Examples from the Current Arrangement

In the current project, the lead sheet highlights the tune’s key modulations, such as the shift from Ab major to C major. The chord symbols include alterations like G7b9 and F#dim7 to capture the tune’s jazzy feel.

For the euphonium, the harmonies emphasize smooth voice leading. For example, during the bridge, the euphonium moves through a descending line that connects the chords Em7b5 to A7b13, adding tension before resolving back to Dm7.

This approach keeps the low brass harmonies interesting without overshadowing the rest of the band. The euphonium parts also include occasional rhythmic hits that sync with the brass section’s accents, enhancing the overall groove.

Final Thoughts on Arranging This Classic Tune

Arranging All The Things You Are for big band and low brass ensembles is a rewarding process that combines respect for the original composition with creative interpretation. Focusing on a clear lead sheet and thoughtful euphonium harmonies ensures the arrangement is both playable and musically satisfying.

For arrangers, the key takeaway is to balance complexity with clarity. Use the lead sheet as a roadmap, and build harmonies that support the melody and enrich the ensemble sound. Experiment with voicings and rhythms, but always keep the players’ experience in mind.