This is an arrangement I did of
All or Nothing At All. I'd love any feedback on my arrangement idea.
Well, Marc...here's my take on your chart.
Being the old fart that I am, I'm real familiar with this tune. Most of the times I've played it, it's been with really good singers with really good arrangements. Because of that and my love of lyrics from the great American standard songbook, I find myself incapable of listening to great tunes like this without the lyrics dancing in my head.
The gist, or idea is this.....this guys on the brink of falling in love with a beautiful woman. She, however, seems reluctant to commit to a serious love affair. He, being the selfish pig that he is, wants the whole ten yards OR nothing at all. As you guys have alluded to, that long form takes up a lot of musical and verbal space to tell the story. It's all about tension and release. When you get to the bridge, the lyrics go something like this...."So, please don't bring your lips so close to my cheek. Don't smile or I'll be lost beyond recall." In other words.... don't mess with me like that. Lemee alone, or gimme it all.
This part of the tune suggests, to me, some release of musical tension. Some charts I've played go into four for the tension breaker....pretty much sticking to the written changes. You can do many things get that job done. For me, it accomplishes two things: It gives your listeners a tip to where you are in the form so they can better understand the musical ideas of the players. Most importantly, it gives the players a better shot at building even more tension up to that point, allowing even more release.
I better stop now 'cause I'm getting real excited and have to visit my bathroom.
Right on.....PW.
PS....A bit of musical history here for you yougin's.
Many, many years ago musicians would refer to what we now call the "bridge", as the "release".
