The Real Book =LINK=
I joined the ranks of the wannabe cool when I bought my first copy of The Real Book out of the back of a van. (Okay, actually, off a table at the back of a gym at the back of campus. But I'm pretty sure the table, the books, and the seller were all together in a van at some point.)
The Real Book
After years of (ab)use, well after it had fallen apart, I replaced it first with The New Real Book and later, when I realized The New Real Book wasn't actually the new The Real Book, with the new, legal The Real Book.
When [Steve] Swallow was asked about the origin in February 2018, he said the book was written by students at Berklee who wanted to make money. They asked permission to use some of his songs, and he agreed. Swallow asked [Paul] Bley and Steve Kuhn if they wanted some of their songs included, and they did; so they all contributed lead sheets. Swallow helped briefly with editing.
The first edition of The Real Book dropped in the summer of 1975. It was transcribed and compiled by two Berklee students, with proofreading and guidance from faculty members Steve Swallow, Pat Metheny, Herb Pomeroy and others. The primary objective was not financial but rather to make available a first rate collection of jazz standards and contemporary pieces clearly and accurately written for practical use by musicians. In short, a book light years beyond anything available at the time. As it turned out, it met a profound need, quickly becoming ubiquitous among students and musicians worldwide. In very general terms, IMO it helped codify the way in which jazz lead sheets were written, as taught at Berklee and as heard on the early Be Bop recordings of Charlie Parker, Bud Powell and Dizzy Gillespie, on to Miles Davis, John Coltrane and Bill Evans, and including contemporary artists of the day such as Keith Jarrett, Chick Corea and Pat Metheny. The 2nd and 3rd editions followed with corrections and improvements. The 4th and 5th editions were produced and sold by bootleggers of which there were numerous from the outset. A legal 6th edition was published by the Hal Leonard Corp. in 2004.
* Books marked with an asterisk are illegal as the composers & publishersof the tunes included have not given their permission for the tunes tobe included, nor do they receive any royalties. For reasons of both legalityand musical quality we do not recommend that you should attempt to obtainany illegal books, nor do we know where you could get them from anyway.However, there was a time when some of these illegal books were the onlysource for much jazz material and for this historical reason there arecopies on many people's bookshelves. Their indexes are included here asthey may be helpful to these people. Please do not ask us about obtainingthem as you will not get any reply.
What This Index Is For It's for locating tunes rapidly without having to pull armloads of fakebooksoff your bookshelf - you can go straight to the right one(s). Also ifyou want to buy a new fakebook, it might help you to decide which oneyou want.
If Your Favourite Fake Book Is Missing From This IndexThen please email us to let us know. If the book you have in mind isrelevant to jazz musicians then we might very well be happy to add itto this index. Note, however, that we do not plan to add any more illegal booksas there are so many good legal books these days.
Publisher LinksHere are some links to publishers' websites where you can find more informationand places to buy books. Note that we don't give out complete listings of book contentsbut you can often find such listings at the publisher's site.
Aebersold play-a-longsHal Leonard main siteHal Leonard salesSher Music - Chuck Sher's booksDisclaimerAlthough every effort has been made to ensure accuracy, we cannot guaranteeit, and in fact there will surely be errors in any list this long. Pleasetell us of any errors you find, also any suggestions for other books toinclude or other improvements.
SUMMERS: An initiative to correct the record and create an alternative to "The Real Book" that would highlight the work of women in jazz. Now, four years later, Carrington's done it. She's out with a book of 101 compositions by women, spanning the last century of jazz. She and other artists also recorded a batch of them for a new album. It's called "New Standards."
CARRINGTON: And I tried to pick 11 songs for the album that showed the variety of jazz styles that are in the book. And I wanted to make sure there were songs people recognized as well as obscure songs.
CARRINGTON: Well, there is a composer, her name is Sara Cassey who was from Detroit and lived in New York. And she was a jazz composer and was really kind of well-known a bit back in the day. A lot of people recorded her music. But, you know, it's not that they were hit records or anything like that. So I don't think a lot of people today know who she is. So we have one of her songs called "Windflower" in the book and on the album.
CARRINGTON: Well, I think, you know, my story is such that I was pretty celebrated at a very young age and grew up in the music feeling like an exception. And it wasn't really until the last 10 years or so that I figured out that that's not cool. It's not cool to be an exception. And what about everybody else? And of course, there are a few women that have come through and are widely recognized. But there are a lot more that aren't and, more importantly, a lot more that have the potential and had the potential that was never realized. So the overall goal is to change the culture to say that these women have always existed. And there's a lot more coming, and we need to pay attention.
SUMMERS: You said that you grew up feeling like an exception in the music world but that in the span of about 10 years, you came to a realization that that wasn't necessarily a good thing. What happened in the intervening 10 years to lead you to where you are now?
CARRINGTON: Well, I've been teaching at Berklee for about 16 years now. And one day I had a meeting with the Women in Jazz Collective, and they started telling me their stories. And it really hit me in a different way this time, you know, maybe because I'm older and maybe because I got a lot closer to this generation through teaching. And I said, well, let me just create a space here at the college where they can come and not worry about these extra burdens that women often face trying to learn how to play jazz.
CARRINGTON: Well, that's the great part about teaching because you realize that you're teaching future teachers, even if they don't know it yet. You know, a lot of people want to be performers and end up teaching. Most of us end up teaching in some way or another. So with that in mind, you know, we're trying to help, you know, shape the future differently with a different kind of consciousness around not just gender equity but, you know, racial justice and ableism and environmental justice and animal justice. All of these things are connected. So we're trying to teach the whole student.
I have to admit, seeing an "E-7" in a dark bar is easier for me to read than EMI7. Since Jazz fonts are all capital letters anyway (for better reading), there's no chance of confusing the "-" with an upper or lower case (or MI) "M". So I've gotta stick with that one for my purposes. Also, I'm finishing a new book with Real Book style chords and I'm publishing it with the "-". My version of the real book uses "-7" for minor 7 all of the time.
It's fine to have a personal preference for "-", but since you specifically talked about publishing, it was worth mentioning that major publishers almost never use that. It's true that the old illegal Real Book - which was produced by amateur college students with no real music engraving experience - used "-" for minor chords, and "maj" for major. They made a lot of other rookie errors too. The legal Hal Leonard version - for which I was one of the editors - choose to fix the worst of the mistakes in the original illegal version (actual wrong notes / chords etc), but for the sake of consistency, they chose to keep keep the "-" and "maj". In other words, we did it precisely to look less professional, and more like the old amateur fakebooks. But, virtually all other Hal Leonard jazz publications use mi and ma, as do virtually all jazz charts from most other publishers. So if the goal is a professional published look, really, it's best to look to how the major publishers actually do things. on the other hand, if the goal is to mimic the old illegal Real Book, then indeed, there is some "sentimental value" in going with the "-" as Hal Leonard did for those editions only.
I have to admit, when I first saw "-" as minor, I didn't like it (nor did I know what it was). I had to read through a melody and figure out what the heck was going on. But then after using the original real book (and now the Hal Leonard) for so long, it's one of those things that I just adapted to. Like I said, I can now see the value in the "-" because when I pull out a chart under stage lights (or in a darker bar), it's harder to misread. So now it has more value to me than just nostalgia.
There are some fonts that I really like. I just don't know if MuseScore would allow me to install them. I've found all of the True Type Font files for MuseScore (and their corresponding folders), I just want to make sure they'd work if I installed them.
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