A familiar song whose secondary dominants and minor-subdominant close provide a complete small lesson in swing harmony. A convincing solo follows the tune’s long melodic arcs instead of resetting at every chord.
If you study one thing
Hear A→A♭→G through the final major-to-minor turn.
Chart keyC major (this chart); published in B♭ major
Form32-bar ABAC chorus; introductory verse usually omitted
FeelSwing
Meter4/4
MusicGerald Marks, Seymour Simons
Guide coverage12 / 12 sections present
Owner content reviewed — 2026-10-05T18:27:11Z by admin. Coverage measures presence, not accuracy. Content review does not certify rights or musical perfection.
See what is here and what is missing
✓ Recording evidence
✓ Key & form
✓ Chart
✓ History
✓ Playing notes
✓ Practice plan
✓ Backing track
✓ Django recording
✓ Django solo study aid
✓ Illustration
✓ Sources
✓ Difficulty
Django's Recordings
Django recordings for this tune. Uploader dates and take labels remain source claims; only an evidenced exact association enables a row’s Listen control.
1 historical recording entries · source text preserved
Entry
Year
Recording / session / release evidence
Listen
01
1940
All Of Me, 17/12/40, OSW 157-1 ,"Fremeaux FA 310, Classics 852, Affinity AFS 1003, Jazz Time 252707-2, Music Memoria 31005, OR 0062, Mosaic MD6-190(6 CD Set)."," - Paris - QHCF+ - Hubert Rostaing (cl), Alix Combelle (cl,ts) Django & Joseph Reinhardt (g), Tony Rovira (b), Pierre Fouad (d)"
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A dash means no video has been associated with this exact historical recording. Tune-level listening resources remain available above.
History & Listening
Gerald Marks and Seymour Simons wrote the song in 1931. The published key is B♭; the archive’s guitar chart is in C. Djangopedia lists Django’s December 1940 recording. This is the jazz standard, not the John Legend song with the same name.
Tune details
Music: Gerald Marks, Seymour Simons
Words: Gerald Marks, Seymour Simons
Published / composed: 1931
Original key: B♭ major
Study level: Beginner to intermediate
Melody & head
Keep the opening descending gesture recognisable.
A vocal version helps place breaths; do not copy the singer’s key without transposing the whole arrangement.
Listening task: Keep the opening descending gesture recognisable. Count the head before comparing solo choruses.
Session evidence
All Of Me, 17/12/40, OSW 157-1 ,"Fremeaux FA 310, Classics 852, Affinity AFS 1003, Jazz Time 252707-2, Music Memoria 31005, OR 0062, Mosaic MD6-190(6 CD Set)."," - Paris - QHCF+ - Hubert Rostaing (cl), Alix Combelle (cl,ts) Django & Joseph Reinhardt (g), Tony Rovira (b), Pierre Fouad (d)"
Count its form and check its key before joining in. In C, E7 and A7 lead the ear toward minor destinations. D7 later becomes Dm–G7. Near the end, F major changes to F minor before Em–A7–Dm–G7 resolves home.
Chart & Form
In C, E7 and A7 lead the ear toward minor destinations. D7 later becomes Dm–G7. Near the end, F major changes to F minor before Em–A7–Dm–G7 resolves home.
The source’s final C/Eb/ cell is ambiguous. It is preserved literally; do not assume that it specifies a verified slash chord or two-chord bar.
Highest displayed view count among matching backing-track videos returned by relevance and view-count YouTube searches. Not a complete platform-wide ranking.
Performed studies, transcriptions, TAB, notation and lessons for studying Django’s solo. Resources are described by their creator; inclusion does not certify note-for-note accuracy.
Mike Tele Tuck · source-described; accuracy not independently verified
Creator presents a study of Django’s recorded solo. Use it alongside the original recording; exact transcription accuracy has not been independently reviewed.
Checked 2026-10-02
Similar tunes
Follow a shared key, a harmonic idea or a familiar form. Keys refer to this site’s chart editions; other recordings may use a different key.
Related chord movement
No sufficiently supported harmonic comparison has been added yet.
No match is established in the current chart metadata.
Behind the illustration
A jazz guitar's fretboard and two gently moving hands, three translucent fingertip traces descending toward one stable string, a single broad arc passing above the neck. The long arc and small semitone descent express the flowing chorus and major-to-minor close; do not draw notation.
An original editorial interpretation of the tune. This is an illustration, not an archival photograph or a documented reconstruction of a recording session.
Original Djangopedia illustration · AI-assisted, 2026
G♯ over E7 and C♯ over A7 explain the dominant colour.
Track A→A♭→G through F→Fm→Em.
Distinguish F♯ on D7 from F natural on Dm.
Pitch choices
C-major melody at stable points.
Chord tones and local harmonic-minor colour over the secondary dominants.
Play only the changing thirds over E7, A7, D7 and Dm. Then build a two-note line through F–Fm–Em and use it as the climax of one chorus.
Comping & voicings
Use plain shells first and reserve minor-sixth colour for Fm. Keep the turnaround clean enough for a beginning soloist to hear the top.
Voicing note sets
E7: E–G♯–D; A7: A–C♯–G.
F: F–A–C → Fm6: F–A♭–D → Em7: E–G–D.
Keep the accompaniment clear
Start with a quiet, even pulse. Leave an entire phrase unfilled and listen to how the melody breathes.
Using only white-key C-major notes on every dominant.
Adding dense extensions that obscure the melody or duplicate the pianist’s register.
Practice room
Start at 100–120; build toward 160–190 bpm
Your assignment
Play only the changing thirds over E7, A7, D7 and Dm. Then build a two-note line through F–Fm–Em and use it as the climax of one chorus.
Loop these changes
E7 → A7 → Dm
D7 → Dm → G7
F → Fm → Em → A7
Metronome
Start below the suggested tempo. First hear four quarter-note clicks, then halve the click rate and place clicks on beats 2 and 4. Keep the same phrase length.
Transposition
Move E7 → A7 → Dm up one whole step by naming each chord’s function before finding a guitar shape.
Return to C major (this chart); published in B♭ major and play the original melody without the chart.
At the session
All Of Me — C major (this chart); published in B♭ major; 32-bar ABAC chorus; introductory verse usually omitted. Agree the tempo, pickup, solo order and ending before the count.
Start together
Use the last four bars of the chorus in C, with a clear pickup.
Finish together
Agree whether to tag the final phrase or finish immediately on C6.
Confirm C versus B♭ with singers and horn players before starting; the printed original key and jam key differ.
Using only white-key C-major notes on every dominant.
Arranging the tune
Solo guitar
Keep the melody on top and use a descending inner voice for the F–Fm–Em moment.
Trio or larger group
Confirm C versus B♭ with singers and horn players before starting; the printed original key and jam key differ.
Vocal considerations
Choose the singer’s comfortable key, then transpose the whole arrangement, including the introduction. Use the original lyric phrasing to shape breathing.
Further study
The IV→iv→iii movement is a reusable voice-leading model. Compare it with the minor-subdominant colour in I’ll See You in My Dreams.
The source’s final C/Eb/ cell is ambiguous. It is preserved literally; do not assume that it specifies a verified slash chord or two-chord bar.
Compare the session evidence below before attributing one arrangement to every Django performance. Gerald Marks and Seymour Simons wrote the song in 1931. The published key is B♭; the archive’s guitar chart is in C. Djangopedia lists Django’s December 1940 recording. This is the jazz standard, not the John Legend song with the same name.
This player guide combines inherited recording evidence and editorial study notes. Musical study notes are editorial suggestions; compare them with the recording.
Original Djangopedia illustration · AI-assisted, 2026
An original editorial interpretation of the tune. This is an illustration, not an archival photograph or a documented reconstruction of a recording session.
Generated with the native image-generation tool on 2026-10-08; original editorial artwork, not a historical photograph.
Prompt: Use case: illustration-story. One original editorial feature illustration for Djangopedia's guide “All Of Me”. Landscape 1536 × 1024, opaque background.
Scene: A jazz guitar's fretboard and two gently moving hands, three translucent fingertip traces descending toward one stable string, a single broad arc passing above the neck. The long arc and small semitone descent express the flowing chorus and major-to-minor close; do not draw notation.
Musical basis from the guide: A familiar song whose secondary dominants and minor-subdominant close provide a complete small lesson in swing harmony. A convincing solo follows the tune’s long melodic arcs instead of resetting at every chord. The supplied chart is C major (this chart); published in B♭ major; form: 32-bar ABAC chorus; introductory verse usually omitted; feel: Swing. These describe musical inspiration, not visible writing. Historical context: Gerald Marks and Seymour Simons wrote the song in 1931. The published key is B♭; the archive’s guitar chart is in C. Djangopedia lists Django’s December 1940 recording. This is the jazz standard, not the John Legend song with the same name. Do not illustrate disputed historical claims or suggest this imagined scene is an archival session.
Medium: graphite with selective gouache. Dominant palette: cool grey and cobalt. Composition: diagonal close detail. Human presence: partial hands. Strong intentional design, clearly drawn/painted, distinctive material marks; keep essential subject safely within the central 70 percent width and middle 80 percent height for card crops. Maintain enough visual substance at thumbnail size.
Broad inspiration observed in old photo, ONLY scale/rhythm and never a reference image: small horizontal group; high contrast; conversational rhythm. Independently invent every pose, perspective, clothing, setting and lighting.
Avoid: No faces, no trio seated together, no photographic backdrop. No photorealism, archival simulation, generated text, letters, numbers, labels, fake musical notation, logo, signature, watermark, fake dates, yellowed-paper patina, recognizable artwork or copied photograph. No imitation of any named artist. Render the art edge to edge without borders, mockup or typography.
Research & rights notes
Exact original composition date and registered credits where not independently sourced
Legacy date/matrix extraction and personnel spelling
Chart variants and specialist review of editorial music analysis
Photograph rights are documented separately in its credit. They do not establish the rights status of the composition or recording.
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