That's All: Drums

Victor López's arrangement strips away complexity to focus on what matters: the singer and the band working together. The modest brass range and straightforward instrumental parts mean your ensemble can support the vocalist without overshadowing them, making this a genuine collaboration rather than a showcase with backing.

A sophisticated pop ballad that feels lived-in and intimate. The modest arrangement lets the lyric and melody shine without unnecessary ornamentation, creating space for emotional delivery and genuine connection between the vocalist and listener.

Jazz ensemble directors looking for a genuine ballad that features a soloist without demanding virtuosity from either the band or the singer. The medium-easy level makes it accessible to high school and community jazz groups, and the vocal range (low A-flat to C above the staff) works across voice types.

• Shape the vocal line through the whole form rather than phrase by phrase. At 88 BPM, resist the urge to slow down; let the ballad breathe within a consistent tempo.
• Balance the ensemble underneath the singer's passages. The parts are written to be unobtrusive, so use dynamics carefully to let the voice sit naturally in the mix.
• Rehearse the rhythm section and horns separately first to establish pocket and chord voicings before adding the vocalist. This lets the singer find their place in an already-solid foundation.

Slot this into a jazz concert as a change of pace from up-tempo numbers. The ballad character and brief runtime (2:37) make it an effective emotional anchor in a set of contrasting styles, or pair it with another vocal feature to build a dedicated jazz vocals showcase.

• Accompanying a vocalist while maintaining rhythmic integrity
• Balancing ensemble blend to support rather than compete with a soloist
• Interpreting ballad tempo and phrasing with appropriate rubato
• Reading and performing straightforward jazz harmony and voicings