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Resources for creating leadsheets

The following are resources that might be useful when creating a jazz leadsheet.

Song Indexes

* The fakebook tune index at Seventhstring.com is a very comprehensive and user-friendly index of many commercial and non-commercial fakebooks. It can be useful to compare various existing leadsheets when making one of your own.
https://www.seventhstring.com/fbindex.html

Other indexes:
https://library.buffalo.edu/music/collections/fake-book/
Several other fakebook indexes are listed at the bottom of the following page:
The Joy of Fakebooks

Song Lists

* The website JazzStandards.com has a list of the top 1000 most commonly recorded jazz tunes (a mix of popular song standards and jazz pieces written specifically for jazz performance). The website doesn't say exactly how the recordings used as the data set were chosen (for example, whether or not "jazz adjacent" artists like Frank Sinatra were included), but the resulting list will certainly be recognizable to anyone familiar with the mainstream jazz repertoire as it was played and recorded from the 1920s to the 1960s. This group's "transcription plan" is based on the top 100 songs on this list.
http://www.jazzstandards.com/compositions/index.htm 

JazzStandards.com also has articles and book reviews, including articles like "Performance Practice vs. Composer’s Intention" and "Harmony and Form of Jazz Standards" that would be of interest to people learning about how to document a tune in a leadsheet.
http://www.jazzstandards.com/theory/overview.htm

* The website Cafe Songbook has a "Catalog of The Great American Songbook" that documents several hundred songs commonly performed by jazz and cabaret artists, giving composer details and background information on them in many cases. They don't claim to have any kind of criteria for inclusion beyond the judgment of the editors (unlike JazzStandards.com, which has a list based on how frequently songs made it to commercial recordings). 
http://greatamericansongbook.net/pages/cat_pages/title.html

Background Information

* The Joy of Fakebooks (web page): This is an illustrated historical overview of fakebooks, written by Bob Keller, going back to "Tune-Dex" cards used by gigging musicians of the 1940s. 
https://www.cs.hmc.edu/~keller/jazz/TheJoyOfFakebooks.htm

This page also contains a link to a Google Docs spreadsheet by Keller that ranks fakebooks by all kinds of criteria. For example:
# number of tunes
# consistency of layout
# presence of song verses (introductory sections)
# readabilty
# chord substitutions
...and many others. 

The spreadsheet reviews some 120 fakebooks. Just by reading the criteria Keller uses to evaluate fakebooks, you can learn a lot about what stylistic decisions you will be making as you put together a leadsheet. 
http://spreadsheets1.google.com/spreadsheet/ccc?hl=en_US&key=tqfLbKzNkWhtm4GW97PljIw&hl=en_US#gid=0

* "It’s Time to Get Rid of Your Real Book" (blog post)
Experienced jazz musicians are well aware of the fact that the original 1970s Real Book has many errors in the charts. But younger musicians, and musicians in places where jazz is not very common, might not know this. This blog post makes the case that it's time to get rid of the Real Book and use other, more accurate alternatives when learning jazz tunes (or creating a lead sheet yourself).
http://blog.danreitz.com/?p=1128

Musescore Tools

Chord Symbol Voicings for Playback - This resource created by Marc Sabatella provides you with  copy and paste chord voicings that you can use in in your own score to get basic chord symbol playback. Leave a comment below if you have incorporated chord playback into a lead sheet (successfully or unsuccessfully), and tell us the way you went about it.


Tutorials

* A two-part tutorial exists for creating a leadsheet in MuseScore. This tutorial was written by Marc Sabatella prior to the release of the 2.0 software, and is slightly out of date (particularly regarding the need for plugins), but most of the information remains current.
https://musescore.org/en/node/11723 (Part 1: The Basics)
https://musescore.org/en/node/11726 (Part 2: Advanced Topics)

Marc is responsible for coding many of the nice features currently available in MuseScore for creating jazz charts, including the software's jazz chord symbol features. Marc also wrote a user guide to Musescore 2.0 (Mastering MuseScore), if you want to get something a little more refined than the community-authored user guide on MuseScore.org. Marc tirelessly answers new users' questions (including many of mine) on the MuseScore.org forums. His MuseScore user's manual is available for puchase here: 
https://masteringmusescore.com/go/books/

* Poor Butterfly and 'What Makes a Good Chart?' (blog post): In this two-part article, Peter Spitzer offers guidance on the art of creating a successful 'vanilla' leadsheet, using the standard 'Poor Butterfly' as an example. He starts with the original 1916 sheet music, then moves on to discuss leadsheets and chord changes published by Hal Leonard, Jamey Aebersold, Ralph Patt, and Dick Hyman. He then looks at the chord changes used on recordings by several jazz greats, comparing these arrangements to the leadsheet chords. It's an excellent demonstration of the kind of analysis and background research that can be used to create an accurate, general-purpose leadsheet that reflects both the composer's intentions and jazz as it is actually played in the real world. It's also very similar to the process used by the music editor of Chuck Sher's New Real Book series for putting together jazz charts of traditional popular songs, as described in Vol. 1 of that series.
http://peterspitzer.blogspot.com/2012/06/poor-butterfly-and-what-makes-good.html (part 1)
http://peterspitzer.blogspot.com/2012/06/poor-butterfly-and-what-makes-good_07.html (part 2)  
 
Jazz Theory

* Jazz musician and educator Stuart Smith has put his text Jazz Theory: 4th Revised Edition online for free. This text can be useful when you are trying to understand and make decisions about things like enharmonic equivalents  (e.g. "Is this chord a D#7 or an Eb7? Why does it matter?")
http://www.cs.uml.edu/~stu/JazzTheory.pdf  (.pdf file)

* The Jazz Theory Book by Mark Levine (Sher Music Co.). Available for purchase at Amazon and many other books stores and music stores. "A required text in universities world-wide, translated into five languages, endorsed by Jamey Aebersold, James Moody, Dave Liebman, etc." says the Amazon copy. Also recommended by jazz pianist and educator Billy Taylor and this group's Paul Ukena.
https://www.amazon.com/Jazz-Theory-Book-Mark-Levine-ebook/dp/B004KA9UX4/ref=sr_1_1?ie=UTF8&qid=1532956037&sr=8-1&keywords=jazz+theory+book+levine&pldnSite=1

* Jazz Theory Resources (Volumes 1 & 2) by Burt Ligon (Houston Publishing, Inc.) is another well-reviewed resource for jazz theory.
https://www.amazon.com/Jazz-Theory-Resources-Bert-Ligon/dp/0634038613/ref=sr_1_1?s=books&ie=UTF8&qid=1532985698&sr=1-1&keywords=Bert+Ligon+-+JAZZ+THEORY+RESOURCES

* MuseScore's own Marc Sabatella has written a book titled The Harmonic Language of Jazz Standards that may be useful to helping you understand why certain harmonies or chord substitutions are used by practicing jazz musicians, and what chords to choose when creating a leadsheet. Marc is a college-level jazz educator, and an excellent writer and communicator. His book is available for purchase here:
https://outsideshore.com/product/the-harmonic-language-of-jazz-standards/

Scores online

If you have an interest in popular songs written prior to 1960 (which most jazz musicians do!), there are many online collections of sheet music, including the following: 
https://library.stanford.edu/music/digital-scores
https://digitalcollections.nypl.org/search/index?filters%5Btype%5D=notated+music&keywords= 
https://www.loc.gov/collections/historic-sheet-music/about-this-collection/
http://digital.library.msstate.edu/cdm/landingpage/collection/SheetMusic
http://library.indstate.edu/rbsc/kirk/popsong.html

Most online archives feature only public-domain works, which in the United States tends to mean works published prior to 1923 (so, a few early-jazz age pop standards like "After You've Gone" and "Alexander's Ragtime Band", but don't expect to find "All the Things You Are" or "'Round Midnight")

Miscellaneous

* "Review: The Story of Fake Books and the 6th Edition Real Book": A book review on Jazz musican and writer Peter Spitzer's blog concerning two works: a book chronicling the history of fakebooks, and the Hal Leonard Real Book (6th Ed.). Interesting nuggets taken from the history book included the fact that there was no known 4th edition of the Real Book (the 5th edition was apparently produced by parties not responsible for the first three Real Book volumes), and the fact that the FBI investigated the publication of the Real Book.
http://peterspitzer.blogspot.com/2011/04/review-story-of-fake-books-and-6th.html

* "The Vocabulary of Tin Pan Alley Explained" (journal article): A 1949 glossary of terminology related to the popular sheet music industry, with a few definitions related to jazz (including 'leadsheet', and one for the brand-new movement of be-bop). One amusing footnote: around the time this article was published, Downbeat had a contest to see who could come up with the best name to replace the old-fashioned term "jazz". The winner received $1000 ($10,000+ in 2018 dollars). The winning entry? "Crew-cut".
https://photos.app.goo.gl/KS3tUMUF57YFYvP78

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More resources to be added to this list as I come across them. Suggestions are welcomed.

JAZZ Still Alive

I have been a jazz fan since my school years. Subsequently I was exceptionally energized when I discovered that my 16-year-old grandson, Ian, was agreed to accept jazz camp at Duquesne University and would remain with me for seven days. 

The camp was held at the Mary Pappert School of Music on the Duquesne grounds under the administration of Mike Tomaro, the executive of Duquesne's Jazz Studies program. He represents considerable authority in forming and orchestrating, in addition to direction with the reed instruments. 

Alternate educators were Duquesne subordinate teachers. A reward for me was having the capacity to tune in to a show toward the finish of class every day. 

The initial three days, the staff shaped a septet that played a full set for the advantage of the understudies, supplemented by important remarks with respect to ideas that had been shrouded in class. 

Exclusively these were extraordinary performers; together they made up an extremely amazing jazz band. 

The exercise get ready for the camp was especially fascinating. I foreseen it would underline procedure, as ace classes. Evidently the personnel accepted that anybody intrigued by music at this level was in any event satisfactorily capable with his instrument. Rather they stressed scholarly aptitudes — congruity, ear preparing, and impromptu creation — and cooperating in little and extensive gatherings. 

Spontaneous creation, obviously, is basic to jazz. The Thursday evening show had the understudies performing in little gatherings, with every one playing an ad libbed solo. Ian's composed "music" for his performance was only a progression of void bars of music with key changes noted. I am not adequately comfortable with music to comprehend what was happening, yet I was very awed when I heard him play his performance. 

Friday evening they played out their extensive group show before a genuinely substantial gathering of people, the groups of the entertainers. The personnel sat in with the understudies. The subsequent execution was fine, absolutely one that would be all around acknowledged in any setting. 

Their first determination was "The Red Door," formed by Gerry Mulligan and Zoot Sims. Next came a genuine exemplary, "Our Love is Here to Stay," George Gershwin's last arrangement. 

I could record the full form on my iPhone. Tuning in to it sometime later, I am much more inspired than I was hearing it live. They at that point played "Cubano Chant," recognizing the impact of Afro-Cuban music on the development of jazz. 

The fourth piece was "One for Daddy-O," which I knew from Cannonball Adderley's great "Something Different" collection. They at that point played Gerry Mulligan's "Out Back of the Barn," giving an understudy baritone saxophone player a chance to play out a strong solo. The band closed with a buoyant form of Cannonball Adderley's notable "Jive Samba." 

Vicariously, Jazz Camp was an awesome affair for me, and I am certain Ian likewise profited incredibly from it. I am excited that these discerning youngsters are keen on keeping this work of art alive, particularly interestingly with what goes as famous music today.

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Age lessens numerous things in a prize-warrior's range of abilities: speed, stamina, capacity to ingest hits, recuperation times, and so forth. Power is generally the exact opposite thing that goes, particularly if that has been a trademark. 

George Foreman, in his prime, was said to have had the hardest hitting intensity of constantly, and that it took Muhammad Ali a great deal of methodology changes-and the scandalous African mugginess to at last arrangement Big George his first thrashing in 41 proficient sessions amid the "Thunder in the Jungle" in 1974. Notwithstanding, Foreman-after at first resigning from confining 1977-returned to the ring in 1987 and en route even bound together the heavyweight division (counting a Vegas-smashing tenth-round KO against past undefeated champion Michael Moorer in 1994). 

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Cuphead Fanbased Medley!

Quote from @Mr_musicguy:

Hello everyone! @realrandynewman and I are doing this very fun cuphead pastiche medley. So how this works is everyone makes one piece based on the big band jazz from cuphead. This can either be a plane battle piece a run and gun or a regular boss battle. We need at least 7 people to complete the medley. Each piece must have a rhyming name like "Wolly warbles in aviary action" or "eartha earthquake in jungle rumble". When your done Randy will fix the pieces up and put it in the medley. Put a comment saying what the name of your piece will be and get our piece up in the next 3 weeks and you can be in the medley!

Dances in the mountains, jazz in the city

Many times, a single song determines the career of an artist. The Scottish Amy Macdonald happens to her. No matter how many years they spend, their great song, This is the life , continues to sound delicious and is enough for concerts like the one on Sunday (21.00, 22 euros), in La Riviera . On the same day and at the same time, the Orishas Parisians bring to WiZink (33 euros) their peculiar way of bringing hip hop and rap , to the Cuban son, not in vain, despite being formed in the French capital, the origin of its components is that Caribbean island of inexhaustible musical treasure.

From today until Sunday, the mountain town of Valdemorillo becomes the European capital of Bal Folk , that movement that has recovered traditional dances from all over the continent and that gathers every year a good number of addicts to dance in communion mazurcas, bourreés , waltzes, polkas, Circassian circles and whatever it may be. A new edition, eighth now, of the Folkarria Eco Fest Bal,it is favored and attended by groups such as the Belgians Elanor and B-Road Bastards, French as Bal O'Gadjo, or Spaniards such as Pan de Capazo and Zagala. The bulk of the festival is celebrated in the Festival Pavilion, with different schedules and prices, but there are parallel activities and instrument workshops in the town's bars. There is also a contest section for new groups as well as dance workshops and play activities for children. The city council of the locality, gives its sports center to lodge during two nights to the numerous public that comes from outside Madrid and Spain.

Another festival, the Smooth Hot Jazz , which is being held throughout the year, brings the Clamores to the great keyboardist Briam Simpson and his band, one of the figures of this sophisticated and elegant jazz and easy listening The other deepest and sweatiest jazz is served with proposals such as that of the pianist Moisés P. Sánchez, who is in Bogui tonight (21.00 18 euros) with only his instruments, but tomorrow and last (21.00, 15 euros each day) he will join the quintet of the saxophonist and composer Luis Verde, who presents his recent Crossed Winds.

You can not say Juan Perro is a true jazz musician, but he also has some of it in his latest proposals. Tomorrow (19.30, from 10 euros) is surrounded by musicians of the genre in the National Auditorium to recreate his latest album, the minimalist El viaje, and review old songs from his repertoire, both from his time at the head of Radio Futura as Santiago Auserón as his solo albums, under his current identity.

Spanish pop also has Elephants today in Joy (22.00, 22 euros). Turbid and disturbing atmospheres propitiated by the enigmatic Shuarma, his singer, despite the fact that the disc they present is called The first light of the day. And with the Varcia Brava Murcia, possessing a more fun and dynamic pulse and whose concerts are usually a party. Tomorrow they release, also on Joy (10.00, 16 euros), the songs of Furor, his recent album.

The delicacy will be served by the British Jamaican origin Gigi McFarlane, and his silk throat, today in Berlin (21.00, 17 euros), where tomorrow (23.00, 18 euros) funk will be danced with Tony Manero Foundation. Also tomorrow (21.00, 12 euros), but in Galileo Galilei , he will whistle, more than he will sing, one of the pioneers of rock and roll in Spain, the great Kurt Savoy, known in the sixties as El Rey del whistle.

Gretchen Parlato and the possibilities of jazz

I could fit into a sweaty, smelly club in the New York underworld of the 1940s, but you can also imagine it in the light of the moon while you watch the sea of ​​Rio de Janeiro. Such are the possibilities and nuances of Gretchen Parlato's voice.
Parlato will be presented for the first time in Mexico this Monday of the National Auditorium, with Flor, a concert where each petal will be impregnated with elegance, sweetness and strength.

The talent comes from inheritance, because it is the daughter of bassist David Parlato, who in the 70s collaborated with such opposite and brilliant artists as Frank Zappa, Barbra Streisand, Al Jarreau and Henry Mancini and visual artist Judy Frisk.

"I was born into an artistic family, so they were my first teachers, exposing me to all kinds of art and teaching me that this is a necessary and vital aspect of our lives." Fortunately, I learned from them that being an artist is a valid profession that brings a lot of happiness and success, "he acknowledges.

But his happiness and success also come in his own merit; in 2001 she graduated in ethnomusicology at the University of California, Los Angeles and after a series of hard exams, became the first singer to be admitted to the Thelonius Monk Institute of Jazz.

The jury that defined its admission are heavyweight names in the world of jazz: Herbie Hancock, the artistic director of the institute, the trumpeter Terence Blanchard and Wayne Shorter, a 'living legend' according to his words. "I am very grateful to have studied with him, to have acted with him and even to have sung with him!" Confess Gretchen.

Although there is room for jazz standards in her repertoire, Gretchen prefers to be original and reinterprets other works with slow and deep combustion and thus reveal her true art.

"My goal," he says, "is to be honest, genuine and pure in my art, allowing my true nature to be reflected, and I hope it reflects who and where I am in my life."

Although the standards have a place in his repertoire, his voice can also be modulated and become whispering but also passionate, and thus give new life to compositions by Antonio Carlos Jobim.

That leads him to ask about the possibilities of jazz, how it has merged with other genres, such as rock, Celtic rhythms or bossa nova itself and create that hybrid called world music.

"If you mean the music that I believe, I come from a jazz history as well as my studies, I also love Brazilian music, bossa nova specifically, and I incorporate other genres such as pop, soul, R & B in what I do; African influences in my work."

To the question of whether the jazz scene has been segmented in recent years, says that it is alive, with more possibilities than ever and where there is room for everyone. "Whether in traditional jazz or in a more innovative and disruptive one that breaks the boundaries, there is an audience for everything."

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Truly, the scene's opening minutes feel more like a coda to TWD's eighth season, particularly given that Morgan is especially still encompassed by well-known countenances. Also, truly, Morgan is as yet a warrior-thinker, doing combating both individual devils and zombies. Yet, James is simply so damn amiable. He makes Morgan somebody to put stock in and pull for. His trip of revelation is our excursion, as well.

However, he's by all account not the only new character we experience in "Story." There's the forlorn gun fighter, John Dorie, played by Deadwood alum Garret Dillahunt. He's enormously amiable from the get-go, a man with an adoration for popcorn and hard sweet. He's likewise charming and loquacious. You think about how somebody like this may coexist with Morgan, who's given to long quiets and tormented thoughtfulnessbut their blending works extremely well. Additionally, they have more in like manner than they may first figure it out. This uncover is one of the scene's lighter minutes and it's very much earned. 

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