September In The Rain (J.Farley)

Harry Warren and Al Dubin penned "September in the Rain" for the 1937 film *Melody for Two*, where it was originally introduced by James Melton. It swiftly crossed over from Hollywood cinema into the bedrock of the Great American Songbook, receiving definitive jazz treatments from artists like George Shearing, Dinah Washington, and Sarah Vaughan. Epitomizing the lush, romantic lyricism of the late 1930s popular song era, the composition offers an ideal vehicle for jazz interpretation due to its cyclical AABA form and sweeping, emotionally resonant melodic contour. John Farley’s sophisticated big band interpretation transforms the nostalgic standard into a vibrant, swinging showcase featuring a dynamic vocal lead. Driven by a buoyant, medium-up swing groove in 4/4 time, the arrangement balances breezy optimism with rich, sophisticated harmonic colorations. The mood shifts effortlessly from intimate, conversational vocal delivery to roaring, high-energy ensemble passages that evoke classic mid-century jazz club sophistication. Farley frames the vocal line with lush saxophone solis and clever counter-melodies in the brass, creating an atmosphere that is simultaneously retro and refreshingly modern. Farley’s arranging methodology shines through in the clever distribution of harmonic weight across the 18-piece instrumentation. The chart opens with an atmospheric, rubato intro before settling into a crisp pocket driven by the rhythm section. The woodwinds carry much of the textural heavy lifting, utilizing tight, modern block voicings behind the vocalist, while the brass interject with snappy, muted responses. A standout feature of the chart is a soaring, harmonically adventurous shout chorus that builds steadily in volume and density, propelling the band into an exhilarating key-shifted climax before a tasteful, winding coda brings the performance to a polished close. Advanced high school, collegiate, and professional big bands will find this arrangement an exceptionally rewarding addition to their repertoire. The chart demands a mature rhythm section capable of maintaining a subtle, driving swing feel at a moderate tempo, alongside a confident vocalist comfortable navigating jazz phrasing and rubato pacing. Saxophone doublings and subtle dynamic control throughout the ensemble ensure that players at the collegiate level can sink their teeth into nuanced articulation, making it an absolute standout choice for festival programs, vocal jazz showcases, and formal concert settings. Conductors should approach John Farley’s arrangement of "September in the Rain" with a focus on stylistic cohesion and dynamic restraint. The tempo should sit comfortably in a medium-up swing zone, prioritizing a relaxed yet driving pocket over sheer velocity; let the rhythm section lead the pulse without rushing the 4/4 groove. The primary technical challenge lies in the dynamic contrast between the vocal soloist and the full ensemble. Brass players must exercise strict discipline during vocal accompaniment sections, utilizing cup or harmon mutes where indicated to ensure the lyrics remain crystal clear. Articulation is key: encourage the saxophone section to execute lightweight, precise bebop-influenced articulations on eighth-note lines, avoiding heavy accents unless specified by Farley's dynamic markings. In the shout chorus, the ensemble should aim for a unified, warm tone rather than forced volume, allowing the extended chord voicings to bloom naturally across the room. Pay close attention to the intonation of the complex upper-structure extensions in the brass, particularly during the modulation leading into the final chorus. Q: What instruments and parts are included in this big band arrangement? A: This 47-page arrangement is scored for a standard 18-instrument big band ensemble, which includes a vocal lead, two alto saxophones, two tenor saxophones, a full brass and rhythm section, and a comprehensive conductor score. Q: What is the difficulty level of this arrangement? A: This piece is best suited for advanced high school, collegiate, and professional big bands that possess a strong grasp of medium-up swing feels and balanced ensemble dynamics. Q: What is the historical style and context of "September in the Rain"? A: Originally composed by Harry Warren in 1937 for film, this arrangement adapts the timeless standard into a classic mid-century swing style popularized by legendary jazz vocalists and instrumentalists. Q: What makes John Farley's arrangement unique? A: Farley elevates the standard through inventive harmonic reharmonizations, lush woodwind voicings, an interactive vocal-to-ensemble dialogue, and a thrilling, dynamically curved shout chorus. Q: What is the performance duration and recommended tempo for this piece? A: While performance time varies slightly based on vocal cadenzas and rubato sections, the chart is designed to run approximately 3.5 to 4 minutes at a steady medium swing tempo.