All Night, All Day

Paul tells us that he has always enjoyed this joyous old spiritual, so doing this arrangement was a real work of love. Like so many spirituals, it is a tune that can be arranged many ways, and in several styles. In this case, he chose to do it as a laid-back gospel rock. Our rhythm section really got into it, and it was a natural for the tight horn band we overlaid.

The primary arrangement is for 3-part mixed voices: two treble parts, and a bass clef part that uses a compromise range of G – D, in this case, so that it works well with boys whether their voices are changed, unchanged, or in that awkward in-between stage. By and large, the voices move together rhythmically, with carefully written voice leading so that this is a good first song to try 3-part singing.

We have built quite a bit of flexibility into the arrangement. While the chorus is solid 3-part, once you get to the verse at bar 17, you have the option of a two bar solo at 17 and another at 21 in each verse. Yes, this can also be sung as unison by one or all voice parts, but we recommend you try four different singers. It's a great way to build their confidence as singers.

We have built a special, dramatic section into this arrangement that is fun to perform and very effective. At bar 25 the first time through, virtually all of the accompaniment stops. (Actually, quietly in the background are a piano guide and a simple drum part.) To the audience, it will seem that it is just your singers, clapping as they sing. Then, for the repeat, all of the background is back, leading to a big ending.

To give you greater flexibility, we also offer this as a unison selection which you will also find on the recording. To do this, just use part 1. We provide a unison accompaniment track online, should you prefer it. It has a unison guide track for the a cappella section. Also online are isolated recordings of part 2, part 3, and an a cappella performance to help singers learn their parts. (See details on page 75.)