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The use of the term "fake" in the jazz scene is illustrated by the expression "fake book", a collection of lead sheets and chord progressions for jazz standards (commonly-played jazz tunes). The reason the book is called a "fake book" is because trained jazz performers are able to improvise accompaniment parts and solos from the chord charts ...
The Real Book is a musicians' fake book – a compilation of lead sheets for jazz standards.Fake books had been around at least since the late 1920s, but their organization was haphazard, and their content did not always keep pace with contemporary musical styles.
"Jitterbug Waltz" is a 1942 jazz composition by Fats Waller. Initially recorded the same year by his jazz combo , Fats Waller and His Rhythm, it has been performed and recorded by numerous musicians, including Art Tatum , Erroll Garner , Chet Atkins , Vince Guaraldi , Butch Thompson, Al Hirt , [ 1 ] Eric Dolphy , [ 2 ] and David Murray .
Peggy Lee recorded a hit version with Benny Goodman in 1945; this version was performed in Who Framed Roger Rabbit by Jessica Rabbit at the Ink and Paint Club. [48] "You Don't Know What Love Is" [16] [49] [50] is a song written by Gene De Paul and Don Raye. “I Hear A Rhapsody” written by George Fragos, Jack Baker, and Dick Gasparre.
A lead sheet or fake sheet is a form of musical notation that specifies the essential elements of a popular song: the melody, lyrics and harmony.The melody is written in modern Western music notation, the lyric is written as text below the staff and the harmony is specified with chord symbols above the staff.
Longtime prop house owner Marc Meyer, widely considered a pioneer of the fake book, is fighting to save his 'life's work,' Faux Library.
Jazz chords are chords, chord voicings and chord symbols that jazz musicians commonly use in composition, improvisation, and harmony. In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. [ 1 ]
In 1952, he founded the Institute of Jazz Studies, which he directed. Later in the 1950s, he was a consultant to the United States State Department, and accompanied Dizzy Gillespie on a tour of the Middle East in 1956 sponsored by the office. Stearns taught at the New School for Social Research (1954–61) and the School of Jazz in Lenox ...