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Jazz standards transcription plan

Below are song titles from a "transcription plan" that was being pursued by this group in 2017-2018. The idea was to take the top 100 jazz standards appearing on the list and provide lead sheets. The list was  compiled statistically, and is ordered by frequency of recording (see the site for more details).

As of this writing, lead sheets for about 2/3 of the top 100 songs on the list have been submitted to the group. (The full list includes 1,000 tunes, in case you were wondering.) At the bottom of this message are the titles that have not been done.

You are welcome to work on the remaining titles, or any other titles considered to be jazz standards (or popular song standards from the classic jazz/swing era--roughly 1910 to 1960). If your song isn't one of the 1,000 songs on the full list, it's probably not what most musicians and jazz fans would consider a jazz standard. That doesn't mean it's not a great tune, but in most cases it means the tune is not widely performed. (Perhaps we need a Musescore group dedicated to overlooked and under-appreciated  jazz tunes and traditional popular songs.) We will try to be as inclusive as possible when adding submissions to the group, while still keeping the focus on tunes that you might hear played and sung in jam sessions or on gigs by relatively mainstream jazz performers.

You are also welcome to submit improved versions of any songs that have already been done for the group. Perhaps a song previously submitted is missing lyrics, or missing the introductory verse, or has chord changes that are not widely used by musicians in performance. So far, the group has not been flooded by multiple versions of any given song--if we were to get, say, 10 charts for "I Got Rhythm," we might need to pick the best 2 or 3 for the main listing, but currently that's not an issue.

Note that if you are starting a new chart, you may save yourself some time by working with an existing "Wikifonia Archive" chart and adding your own corrections, improved formatting, and missing sections / lyrics as needed. See the following discussion for more details:

To add a score to the group's collection, open the score in or find it in your account's list of scores, click the "three dots" action icon at the top right, and then choose type in "Jazz Standards Lead Sheets" to search for and choose this group. You can then leave a comment here with the song title and the URL for the link to let us know you've added a new score. If your chart has notable features or corrections, add a note about it when you post, and consider adding the details to the comments on the score page as well.

Jazz standards not currently in the collection of this group (ranking from

16. Sweet Georgia Brown
19. In a Sentimental Mood
21. How High the Moon
25. On Green Dolphin Street
26. Tenderly
28. These Foolish Things
48. Stompin' At the Savoy
53. You Don't Know What Love Is
55. On the Sunny Side of the Street
69. Lover Come Back to Me
70. Darn That Dream
71. All of Me
72. More Than You Know
74. Just One of Those Things
75. Mean to Me
76. September Song
79. Polka Dots and Moonbeams
80. Easy Living
81. Pennies from Heaven
82. I Didn't Know What Time It Was
84. It Don't Mean a Thing
86. They Can't Take That Away from Me
87. Star Eyes
89. Alone Together
90. Just You, Just Me
92. Things Ain't What They Used to Be
93. Do Nothin' Till You Hear from Me
94. Blue Moon
95. I Surrender Dear
96. You Stepped Out of a Dream
97. My One and Only Love
98. 'S Wonderful!

List of available jazz standards

Here is the alphabetical list of jazz standards lead sheets that are already done and available in our group.
(Note that everything can be downloaded as mscz file and transposed to the key of your choice.)

After You've Gone -
After You've Gone [alt chart] -
Ain't Misbehavin' -
Ain't Misbehavin' [alt chart] -
All Alone -
All the Things You Are -
All the Things You Are [with verse] -
Among My Souvenirs -
Angel Eyes -
Angel Eyes -
April in Paris -
As Time Goes By -
Autumn Leaves (Les Feuilles Mortes) -
Bag's Groove -
Begin the Beguine -
Begin the Beguine -
Body and Soul -
But Not for Me -
Ballin' the Jack -
Best Thing for You -
Born to Be Blue -
Call Me Irresponsible -
Caravan -
Charleston -
Cheek to Cheek -
Cherokee -
China Boy -
China Boy [includes verse, alternate 'QHCF' chord changes] -
Come Rain or Come Shine -
Crazy Rhythm -
Christmas Song, The -
Dream a Little Dream of Me [original version]
Dream a Little Dream of Me [Mamas & Papas arr.] -
Do You Know What It Means to Miss New Orleans -  
Don't Be That Way -
Don't Blame Me -
Don't Get Around Much Anymore -
Drop Me Off in Harlem -
East of the Sun -
Embraceable You -
Embraceable You [with verses] -
Estate -
Fly Me to the Moon -
Fly Me to the Moon (4/4)
Fly Me to the Moon (3/4)
Flying Home -
Foggy Day, A -
Frim Fram Sauce, The -
Georgia on My Mind -
Ghost of a Chance, (I Don't Stand) A -
Groovin' High -
Here's That Rainy Day -
Honeysuckle Rose -
How Deep Is the Ocean? -
I Can't Believe That You're in Love with Me -
I Can't Get Started (with You) -
I Cover the Waterfront -
I Got It Bad (And That Ain't Good) -
I Got Rhythm -
I Let a Song Go Out of My Heart -
I Should Care -
I Wish You Love -
I Won't Dance -
I Won't Dance [with verse] -
If I Had You -
I'll Remember April -
I'll See You in My Dreams -
I'll See You in My Dreams [with verses]
Indian Summer -
Indiana -
Isn't It Romantic -
It Could Happen to You -
It Had to Be You -
It Might as Well Be Spring -
Joint Is Jumpin', The -
Just Friends -
La Vie En Rose -
Laura -
Lester Leaps In -
Let's Fall in Love -
Let's Get Lost -
Louisiana Fairytale -
Love for Sale -
Love Is Here to Stay -
Love Is Here to Stay -
Lover Man (Oh, Where Can You Be?) -
Lush Life -
Man I Loved, The -
Maple Leaf Rag -
Memories of You -
Misty -
Mr. PC -
My Funny Valentine -
My Romance -
My Ship -
Nearness of You, The -
Night and Day -
Night in Tunisia -
Nightengale Sang in Berkeley Square, A -
Oh, Lady Be Good -
Old Country, The -
On a Misty Night -
On a Slow Boat to China -
Over the Rainbow -
Out of Nowhere -
Perdido -
Poinciana -
Prelude to a Kiss -
Puttin' on the Ritz -
Rosetta -
Round Midnight -
Royal Garden Blues -
Satin Doll -
Secret Love -
Sentimental Journey -
Shiny Stockings -
Skylark -
Smile -
Smoke Gets in Your Eyes -
Sophisticated Lady -
Someone to Watch Over Me -
Sonnymoon for Two -
St. James Infirmary -
St. Louis Blues -
Stardust -
Stardust [with verse] -
Stars Fell on Alabama -
Stella By Starlight -
Stompin' at the Savoy -
Summertime -
Sunny Side of the Street, The -
Sweet Lorraine -
Take the 'A' Train -
Taking a Chance on Love -
Tea for Two -
There Is No Greater Love -
There Will Never Be Another You -
There Will Never Be Another You -
This Can't Be Love -
Topsy -
Turn Out the Stars -
Two Sleepy People -
Walkin My Baby Back Home -
Way You Look Tonight, The -
What Is This Thing Called Love? -
What's New? -
When You're Smiling -
Where or When -
Willow Weep for Me -
Wrap Your Troubles in Dreams -
Yesterdays -
You Go to My Head -
You Go to My Head -

Resources for creating leadsheets

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

Song Indexes

* The fakebook tune index at 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.

Other indexes:
Several other fakebook indexes are listed at the bottom of the following page:

Song Lists

* The website 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. 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.

* 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, which has a list based on how frequently songs made it to commercial recordings).

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.

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.

* "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).


* 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. (Part 1: The Basics) (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 Marc tirelessly answers new users' questions (including many of mine) on the forums. His MuseScore user's manual is available for puchase here:

* 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. (part 1) (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?")  (.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.

* Jazz Theory Resources (Volumes 1 & 2) by Burt Ligon (Houston Publishing, Inc.) is another well-reviewed resource for jazz theory.

* 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:

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:

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")


* "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.

* "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".


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

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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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Not exclusively did Pacquiao never win again by KO, however he likewise dropped four of his next thirteen sessions a greater number of misfortunes in nine years than in his initial fourteen years as an expert. The power was fairly still clear however he just couldn't complete them off the same number of have been acquainted with seeing previously. 

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.