some jazz musicians told me that this great song travels through all 12 major keys as it is played; is this true.? i tried analyzing it but i find a few key are not represented.  
thanks for the input  
charlp88
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hmm, i don't see it hitting all 12 keys, at least in an obvious manner.  if you do some substitution of tonic chords however you can hit all 12 keys, but i'm not sure if i would go that far because that opens the door to saying that almost any tune can go in all keys.
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yes scot i see what yo mean t y charlie
tho it doesen't cover all the keys, it does modulate around a bit, and it's a great exercise in ii-v's.  
some people refer to this tune as "all the chords you know".
i wish i were there when mr kern put this song together.
there's a chord on all 12 semitones but not in all 12 keys.
here is a relevant quote from bert ligon:

"...  here is a list of commonly called tunes. these are not obscure tunes listed here for the sake of argument, but tunes which have been called in a typical set in countless jazz clubs and jam sessions. these tunes are not called by insecure jazz musicians wishing to prove their machismo by playing in "strange" keys, but by musicians wishing to express themselves on common jazz vehicles. the tunes are listed with the basic major keys in parentheses. (there are other keys that are suggested by other secondary dominants, but i am just showing the main key areas.)"

"cherokee (bb, eb, b, a, g, & f)
body and soul (db, d, c)
all the things you are (ab, c, eb, g, e)
i'll remember april (g, bb, e)
joy spring (f, gb, g, eb)"

"all 12 major key areas occur. which key should we not be prepared to play in?"
just out of curiosity, how does bert ligon define the term "secondary dominants"?
maybe not all 12 keys, but the bass hits all 12 notes.
"in your own sweet way" is another one.
that is, assuming the bass player plays the roots without pulling that pedal stuff.
looking again at the list of songs in the ligon quote, i see that you can delete iíll remember april, and still cover all 12 keys. that leaves the same four-song list which ligon gives in his comprehensive technique book, to  make the same point, i.e., we should practice in all keys.

savage, he has a lengthy tutorial on secondary dominants in chapter six of his  jazz theory resources book.  i havenít read it, and iím sure i would misrepresent it if  i tried to summarize it, so i will pass.

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