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Not a Bad November
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 Posted: Sat May 20th, 2017 01:23 am
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fasstrack
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Here is the lead sheet, in the original key of A:



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 Posted: Sat May 20th, 2017 01:39 am
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fasstrack
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I downloaded the PDF, but alas it disappeared---or something. (edit: this time it worked. It's at bottom)

It was my very first real song with lyric, and 'Fatha' Francis Reilly contributed perhaps 3 strong lines.

Here's the lyric:


NOT A BAD NOVEMBER By Joel Fass
(c) 2003 Exemplar (ASCAP)

Verse (rubato):

When September leaves her chill
Though it be a bitter pill
Never curse September, or the luck you've got
For when new love comes one day
That's the time for us to say:
'It's not over---and there's one more thing it's not':

(Ballad tempo)
A1:
It's not a bad November
After that chill in early Fall
No, it's not a bad November---at all

A2:
It was a dreary, dark September
(S)he left, and I heard winter's call
around the bend---the end---December
What a Fall!

B:
October came with greener view
Bringing promise, bringing you
We found love
And a song our hearts could sing

Now it's November, all is new
I have found my strength in you
When we love---we turn
Autumn into Spring

C:
All told, it's
Not a bad November
in fact since you came my way
It's May---each day's our first

So come on in, December
Do your worst! (2nd x: to coda)

(Instr. solo from 'Now it's November...';vcl. re-entry at: 'All told, it's...'

Coda (over repeated instr. figure):

November
November!

Attachment: novemberfinal (1) (1) (1) (1).pdf (Downloaded 4 times)

Last edited on Sat May 20th, 2017 01:45 am by fasstrack



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 Posted: Sat May 20th, 2017 03:28 am
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fasstrack
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I just noticed the changes on the instrumental part are wrong:

It should say 'instr. solo' at left and here are the correct (concert) changes:
G# Min7 b5/C# (2 beats) C# 7 #9 #5 (2 beats)/ F# Maj 7/C# (4 beats)/F# Min7 b5/B (2 beats) B7 #9 #5 (2 beats)/E Maj 7/B (4 beats)/B Min7 (2 beats) E7 b9 (2 beats)/ A Maj 7 (2 beats) G Maj 7 (2 beats)/ F Maj 7 #11 (4 beats)/ D/E (2 beats)/E 13 (4 beats).

The vocal re-entry up to the coda has the right changes. I apologize for any confusion

Attached below is the lead sheet with the corrections. The solo is at letter D:

Joel

Attachment: Not a Bad November-A Lead Sheet.pdf (Downloaded 2 times)

Last edited on Sat May 20th, 2017 02:12 pm by fasstrack



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 Posted: Sat May 20th, 2017 06:10 am
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RainyDayMan
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Joel, do you have a recording of this by any chance that you could post? For anyone who can't read the score?

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 Posted: Sat May 20th, 2017 06:31 am
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fasstrack
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RainyDayMan wrote:
Joel, do you have a recording of this by any chance that you could post? For anyone who can't read the score?I see that the email address troy@...is no longer valid. I sent an mp3, but it's not uploading---nor is the html file.

It's supposed to be against the rules, but since I have no other options here is a link to my soundclick page with the 2006 demo (Vicki Doney, vocal; Steve Ash, piano). I guess delete it if it's not acceptable:

http://www.soundclick.com/joelfass



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 Posted: Sun May 21st, 2017 01:34 am
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RainyDayMan
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Thanks for that Joel.
A link to soundcloud or similar is NOT against the rules and is the preferred approach these days.

Here is a direct link for anyone who wants it:
http://soundclick.com/share.cfm?id=4839249

Some really intriguing chord progressions in there. That would be your jazz background no doubt.

You have a great vocalist for the recording and she needs to be to do it justice.

A classic number!

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 Posted: Sun May 21st, 2017 02:16 am
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fasstrack
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RainyDayMan wrote:
A classic number!Ha.

From your mouth to.....


You know the rest.

Seriously, Vicki IS a terrific singer. I met her (in a roundabout way) through the late, great alto saxophonist Phil Woods. She and her then-husband were on a poorly-promoted (thus, poorly attended) clinic Phil gave. Phil, a great and big-hearted guy, but at times overly emotional and angry, went dark and lashed out, licking his wounds and inflicting some over the poor attendance. Vicki was the trouper, lighting candles and carrying the day.

And I'd be remiss not to mention the sensitive job Steve Ash did in accompanying Vicki. They created a pensive, twilight mood and reading I rarely tire of hearing.

This song (as I indicated, my first with a lyric) had a long and somewhat tortured history, and I learned a thing or two:

I sent an early, unripe version to a drafty 'diva' of whom I had gotten wind of was looking for material. The lyric was not ready, to say the least. The font I used was unprofessional. The opening instrumental figure was not well-thought-out enough.

Under the rubric 'be careful what you ask for, etc.', said vocalist wrote back, trashing the song, being utterly condescending and haughty about her 'incredibly high standards' (like I DON'T have them, lady?). She concluded, twisting the knife with an apparently guilt-driven line about 'I encourage you to keep writing'.

She shouldda 'encouraged' me to boil myself in oil: I put the song away for a good few years, and it set off a depression.

My point: she may have been the bitch of the world (and stories from others corroborated she was not nice---AND, the final twist of the sword was her rejection of the song sent her by the very gifted and successful bassist/composer who told me to contact her), but she did me a HUGE favor. NEVER let a composition, art or any other work of any kind see the light of day until you are 110% certain that it is airtight and READY for performance or whatever the usage may be. First impressions can quickly become last impressions in an extremely cold business.

Well, sir (or madam), I did finish it, bouncing my slowly progressing neophyte lyric off the leader of a Songwriters' Guild workshop----who put me through ANOTHER ringer, insisting I keep rewriting (she was NOT nasty, but on my side and saw the song's potential)---and got some excellent lines from a wacky and talented friend (the aforementioned Francis Reilly) with a track record of writing interesting lyrics for jazz composers.

Finally, when it WAS ready, I sent it not to singers, but to Phil and showed it to my teacher Bill Finegan---arguably 2 of the greatest musicians of their or any time. Both loved it. Finegan told me to send it to Tony Bennett. (I didn't, and wouldn't, but my confidence grew exponentially hearing these things from masters).

Now, I've written dozens of songs since 'breaking my cherry' (hope that doesn't offend, LOL) and write faster, don't 'worry' a song, just get it done. If something doesn't 'feel' right I will do something else and come back to it in a different head. There's a reason why Picasso, Miles Davis or, in modern times, Tom Harrell (a brilliant trumpeter/flugelhornist/prolific composer living with debilitating schizophrenia) are as productive and consistent in what is produced: Of COURSE they are supremely gifted, but their CONSISTENT sticking to and seeing their work through until what they've envisioned turns into mature art is what inspires us all.

It's often a bumpy road, and maybe it SHOULD be, to toughen our backbones and resolve. I made my mind up that my playing and writing will be known---and slowly it's happening. I'm talking about the respect of not only peers, but BETTERS here----not some BS material reward (beyond eking out at least a modest living).

So I raise a glass to you, NM, for schooling me in presenting a finished product....

....you BITCH (LOL)...

Last edited on Sun May 21st, 2017 02:34 am by fasstrack



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 Posted: Fri Jan 12th, 2018 06:18 am
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fatesaccomplice
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Bit late to the party, here, but boy do I ever love this.  Clever lyrics, beautiful arrangement, lovely recording, and I could lose myself in the singer.  I dislike receiving praise without anything constructive attached, but I've got nothing in the way of notes to offer (you used all the best ones - ha).  Truly a first-class job from every angle.

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 Posted: Fri Jan 12th, 2018 10:39 am
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fasstrack
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fatesaccomplice wrote:
Bit late to the party, here, but boy do I ever love this.  Clever lyrics, beautiful arrangement, lovely recording, and I could lose myself in the singer.  I dislike receiving praise without anything constructive attached, but I've got nothing in the way of notes to offer (you used all the best ones - ha).  Truly a first-class job from every angle.
Thanks.

Singer: Vicki Doney
Pianist: Steve Ash
Melody: like falling off a log
Lyrics: I got grey hairs still

I do have some working singers finally embracing this song. I need some recordings, then who knows? It's registered w/ASCAP and copyrighted, so please pass it on.

(Do remember that one lyric in the verse ('...into May') was changed to 'That's the time for us to say')

And thank you again...



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