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Real Book

The Real Book is a renowned collection of lead sheets for jazz standards and contemporary tunes, serving as an essential reference for musicians in the form of a "fake book" that provides melody lines, chord progressions, and lyrics in a compact notation system.^[1] Originating in the mid-1970s at the Berklee College of Music, it was compiled by two anonymous students who hand-notated over 200 songs, including works by legends such as Duke Ellington, Miles Davis, and John Coltrane, to create a more organized and modern alternative to earlier illegal fake books from the 1940s.^[2] With assistance from Berklee instructor Steve Swallow, the first edition was completed by summer 1975 and distributed informally through photocopies sold on street corners and in music store backrooms, evading copyright laws as an unauthorized bootleg publication.^[3] Despite initial inaccuracies in transcriptions and legal issues, it quickly became the de facto standard for jazz education and performance, standardizing harmonies and influencing generations of players by capturing the evolving sound of post-bebop jazz.^[2] In 2004, publisher Hal Leonard secured rights to the material, releasing the first official edition and subsequent volumes that corrected errors, expanded contents to around 400 songs, and offered versions for instruments in C, B-flat, E-flat, and bass clef.^[1] Today, the series remains a cornerstone of jazz repertoire, though digital alternatives like apps have begun supplementing its physical use.^[3]

Origins and Creation

Historical Context

In the mid-20th century, jazz standards primarily drew from the Great American Songbook, a repertoire of popular songs from the 1920s through the 1950s originating in Tin Pan Alley, Broadway musicals, and Hollywood films, which provided melodic and harmonic foundations for improvisation.^[4] By the 1940s, the bebop era shifted this landscape with more complex compositions and reinterpretations of earlier standards, emphasizing virtuosic solos and irregular forms that demanded greater technical proficiency from musicians.^[5] However, as jazz evolved into the post-1960s period, comprehensive collections of lead sheets—concise notations of melody, chords, and lyrics—remained scarce, forcing performers to rely on fragmented sources such as phonograph records, oral transmissions from mentors, or rudimentary fake books that often contained inaccuracies or limited selections.^[6] The Berklee College of Music in Boston emerged as a pivotal institution for jazz education during this time, having been founded in 1945 as the first U.S. college to center its curriculum on jazz and contemporary music.^[7] By the early 1970s, Berklee experienced rapid growth, with enrollment expanding from around 1,000 students in the late 1960s to over 3,000 by the decade's end, attracting aspiring musicians seeking formal training amid the genre's increasing institutionalization in higher education.^[8] Students faced significant challenges in mastering the expanding repertoire, as learning tunes often involved transcribing solos from recordings by ear or piecing together chord changes from unreliable sheet music, a process that was time-consuming and impractical for those balancing academic studies with professional gigs.^[6] This need culminated in the mid-1970s, around 1974, when demand from Berklee's student musicians—many performing in Boston's vibrant club scene—spurred the creation of a centralized resource for jazz standards.^[9] Paralleling this was a cultural shift toward electric jazz and fusion, exemplified by Miles Davis's pioneering albums like Bitches Brew (1970) and the innovative works of Weather Report starting in 1971, which blended jazz improvisation with rock rhythms, electric instrumentation, and world music elements, necessitating portable and reliable references for an increasingly diverse and gig-oriented repertoire.^[10]^[11] The resulting compilation initially circulated as an unauthorized bootleg among players.^[9]

Compilation and Contributors

The original Real Book was compiled in the mid-1970s by two anonymous students at the Berklee College of Music as an unauthorized collection of lead sheets for jazz standards.^[2] These creators remain unidentified publicly, though it is an open secret that one was a student of guitarist Pat Metheny, who had recently joined the Berklee faculty in 1974, and the other worked in vibraphonist Gary Burton's studio. The project originated as a practical resource for student combos practicing and gigging together, addressing the lack of accessible, modern arrangements for contemporary jazz repertoire.^[2] The compilation process spanned several months starting in 1974 and involved painstaking hand transcription of tunes from recordings, often updating classic standards with reharmonizations inspired by artists like Miles Davis and incorporating fusion works by figures such as Herbie Hancock and earlier free jazz standards by Ornette Coleman.^[12] One student specialized in the distinctive handwritten notation, using typewriters for chord symbols and early photocopying technology available near the campus to produce copies.^[2] Faculty members contributed informally to enhance the book's utility; bassist Steve Swallow, who taught at Berklee from 1974 to 1976, was approached by the students and provided several of his own arrangements, including tunes like "Falling Grace," after weighing the ethical implications of the bootleg project.^[12] Trumpeter Herb Pomeroy, a longtime Berklee instructor, offered advice on tune selections to ensure relevance for practical performance. Aimed at 200–300 essential tunes suited to gigging musicians, the initial scope prioritized readability and playability over exhaustive coverage, focusing on standards and modern compositions that reflected the evolving jazz landscape of the era.^[2] With no formal publishing involved, the first "edition"—completed by summer 1975—was a single spiral-bound volume of approximately 512 pages, produced in small runs at local copy shops and distributed under the table within the Berklee community.^[12]

Content and Format

Structure of Lead Sheets

The lead sheets in the Real Book represent a streamlined format tailored for jazz ensemble performance, providing essential musical elements without extraneous details. The original bootleg edition was produced as a spiral-bound paperback using black-and-white photocopies, resulting in variable print quality across copies due to the informal duplication process at local shops. These photocopies were bound with plastic spirals to allow pages to lie flat on a music stand, enhancing usability during gigs. The book's dimensions approximated 9 by 12 inches, a standard folio size for sheet music that accommodated single-page layouts for most tunes. Each lead sheet occupies one or two facing pages and includes the melody line notated in treble clef on a single staff, chord symbols printed directly above the corresponding measures, and basic lyrics aligned beneath the staff where vocals are part of the standard. No full scores, piano arrangements, or orchestral parts are provided, leaving room for improvisational interpretation by the ensemble. This minimalist structure supports real-time playing, with the focus on core components that enable horn players to read the head (melody) while rhythm sections interpret the harmony. The Real Book organizes its over 200 tunes alphabetically by title for straightforward access during sessions. Supplementary indexes by key and composer facilitate quick location of pieces suitable for specific transpositions or repertoire exploration. Transcriptions emphasize practical simplicity for live performance, employing standard jazz notation conventions such as "Dm7" for D minor seventh chords and "G7alt" for G dominant seventh altered chords. These "real changes" reflect the sophisticated progressions favored by professional jazz musicians, diverging from overly simplified versions in commercial fake books to better capture idiomatic harmonic practices.^[13]

Included Standards and Common Errors

The original Real Book features over 200 lead sheets for jazz standards, show tunes, and original compositions, reflecting a balance between pre-1950s classics and post-bebop modern works. Notable inclusions encompass timeless pieces from the Great American Songbook such as "All the Things You Are" and "Autumn Leaves," bebop icons like John Coltrane's "Giant Steps" and the Rodgers and Hart standard "My Romance," as well as fusion outliers including Frank Zappa's "Peaches en Regalia." This selection captures the eclectic repertoire played in 1970s jazz scenes, particularly around Berklee College of Music.^[13] The compilation emphasizes the Great American Songbook, comprising about 60% of the contents with Broadway and Tin Pan Alley staples; 20% bebop standards by artists like Charlie Parker and Dizzy Gillespie; 10% bossa nova and Latin influences, such as tunes by Antonio Carlos Jobim; and 10% fusion and rock crossovers that highlight emerging 1970s styles. This categorization underscores the book's role in bridging traditional jazz with contemporary experimentation, though exact proportions vary slightly across bootleg editions.^[13] Transcription errors are prevalent throughout the original Real Book, stemming from its amateur compilation process and resulting in versions that diverged from composers' intentions. Common issues include simplified ii-V-I progressions that streamline complex harmonies, incorrect keys that mismatch original recordings, and omitted verses or intros that alter song structures. Specific examples illustrate these flaws: in "Stella by Starlight," the chart omits key diminished and minor-major chords, flattening the tune's chromatic depth; similarly, "Take the A Train" features rhythmic inaccuracies and missing measures in the bridge, deviating from Duke Ellington's arrangement. These inaccuracies often made the book's charts functional for jamming but unreliable for precise performances.^[13] Such errors originated from student-led transcriptions done by ear from records or live performances, rather than consulting official sheet music or publishers, which were either unavailable or prohibitively expensive. This method produced idiosyncratic "house" versions tailored to informal sessions, fostering a culture where these approximations became de facto standards among musicians despite their deviations. Over time, these variants influenced jazz pedagogy and improvisation, embedding the errors into communal memory.^[13]

Publication History

Bootleg Circulation

The original Real Book circulated underground starting in the mid-1970s as an unauthorized compilation, sold covertly at the Berklee College of Music in Boston and various New York City jazz venues, including street corners, car trunks, and music stores where buyers used secret code words to complete transactions. Prices ranged from $20 to $50, with one reported sale in 1987 at $30 from a Berklee alumnus. Distribution expanded rapidly through photocopies made at local shops, reaching thousands of jazz musicians by the late 1970s and becoming a staple in informal jazz education and performances.^[2]^[14]^[2] The bootleg editions included the original Volume I, compiled around 1975 with approximately 200 jazz standards and contemporary compositions from artists such as Herbie Hancock and Ornette Coleman. Volume II followed in the late 1970s, focusing on more modern jazz tunes to address omissions in the first edition, while Volume III emerged in the 1990s with additional modern jazz tunes. Neither Volume II nor Volume III was created by the original compilers. Lacking a central publisher or oversight, these volumes proliferated in multiple variants, often with inconsistencies in notation due to decentralized photocopying and reprinting efforts.^[2]^[15]^[16] This illicit production violated U.S. copyright law under Title 17 of the United States Code, exposing distributors and users to statutory damages ranging from $250 to $10,000 per infringed musical work (up to $50,000 if willful) prior to the 1994 amendments. In the 1980s, federal authorities and music licensing organizations like ASCAP and BMI conducted raids on printers producing fake books, including those handling Real Book copies, as part of broader crackdowns documented in FBI files. Despite this scrutiny, individual musicians rarely faced prosecution, benefiting from a culture of tolerance within the jazz community that viewed the book as an essential, if illegal, resource.^[16]^[2] By the 1990s, the Real Book had attained peak underground prominence, with hundreds of thousands of copies estimated to have circulated globally through successive bootlegs, establishing it as an open secret indispensable to jazz practitioners. Initial print runs were limited to hundreds, but the ease of duplication fueled its widespread adoption until legal editions emerged in the early 2000s.^[15]^[2]^[16]

Official Legal Editions

In 2004, Hal Leonard Corporation secured licensing agreements with copyright holders to produce the first official, legal editions of the Real Book, marking the end of decades of bootleg circulation. This culminated in the release of The Real Book Volume I, Sixth Edition, which featured corrected lead sheets for over 400 jazz standards, ensuring accurate notations and chord changes verified against original sources.^[1] Hal Leonard expanded the series through the 2000s and 2010s, publishing Volumes I through VI, with each volume containing hundreds of tunes to collectively exceed 1,000 selections across the set. These editions introduced specialized formats, such as versions for soprano saxophone and bass clef instruments, alongside the standard C and B-flat transpositions, making the books accessible to a broader range of performers.^[17] On February 3, 2025, Berklee Press released The Berklee Real Book, a 300-song edition developed in partnership with Hal Leonard, which provided the necessary song licenses. This version emphasizes educational value through annotated charts, including performance insights tailored for students and gigging musicians, drawing from Berklee College of Music's curriculum.^[18] Key improvements in these official editions include meticulously verified transcriptions to rectify errors from unauthorized copies, the addition of complete lyrics for many standards, and digital companions such as online audio playback tracks for practice. Priced between $30 and $50 per volume, they are distributed worldwide through sheet music retailers, online platforms like Amazon, and directly from publishers.^[1]^[19]^[20]

Impact and Legacy

Influence on Jazz Education

The Real Book emerged as a foundational resource in jazz education during the late 1970s and 1980s, coinciding with the expansion of formal jazz programs at institutions like the Berklee College of Music, where it originated as a student-compiled collection. By the 1980s, it had become a standard text in curricula, providing lead sheets that facilitated the study of jazz standards and their harmonic structures. Educators and students alike relied on it for developing skills in transposition, chord voicings, and melodic interpretation, serving as an accessible entry point for aspiring musicians to engage with the repertoire. At schools such as The Juilliard School, where jazz studies were formalized in the early 2000s, the Real Book's volumes are stocked in official stores.^[21]^[22] In performance contexts, the Real Book revolutionized preparation for professional gigs by offering compact, portable charts that allowed musicians to quickly familiarize themselves with tunes, rhythms, and forms without needing full scores. This efficiency enabled seamless collaboration in ad-hoc groups, where players could sight-read and improvise collectively. The publication's chord progressions, known as "Real Book changes," have notably shaped improvisational approaches; for instance, musicians often base solos on the simplified yet idiomatic harmonies provided for Miles Davis's "All Blues," adapting them to create variations that blend modal and blues elements during live performances. Such adaptations underscore how the Real Book standardized harmonic interpretations, influencing generations of improvisers to prioritize functional harmony over rigid notation.^[23]^[24] The Real Book's influence extended beyond the United States, permeating global jazz communities in regions like Europe and Japan, where it supported the growth of local scenes through jam sessions and educational workshops. In European conservatories and Japanese jazz clubs, its charts became references for transcribing and reinterpreting standards, fostering international recordings and fusions that drew directly from its selections. By 2025, Hal Leonard's official editions had become the best-selling jazz books worldwide, and the content has been digitized in applications like iReal Pro, which incorporates compatible chord charts for interactive practice and playback in various keys and tempos. This digital integration has further embedded the Real Book in contemporary education, allowing remote learners to simulate ensemble experiences.^[23]^[25]

Criticisms and Cultural Role

The Real Book has faced significant criticism for its inaccuracies, which include inconsistent chord progressions, erroneous melodies, and rhythmic discrepancies that have been perpetuated across generations of jazz musicians. These errors, stemming from its origins as a student-compiled bootleg in the 1970s, have been highlighted in analyses noting that the book's charts often deviate from original recordings, leading to a standardized but flawed version of standards that musicians adopt without verification. For instance, a 2014 critique described the Real Book's charts as inconsistent, sloppy and frequently inaccurate, arguing that its flaws encourage rote memorization over critical engagement with source material.^[26] Critics in jazz pedagogy have further argued that reliance on the Real Book fosters "lazy" learning habits, diminishing the development of ear training and improvisation skills essential to the genre. By providing pre-packaged lead sheets, the book allows players to perform tunes without internalizing them through listening or transcription, resulting in a homogenization of interpretations that prioritizes uniformity over nuanced, personal expression. This concern has persisted into recent discussions, with a 2025 pedagogical overview describing the Real Book as a "homogenizing force that relieved students of the burden of ever having to really learn or internalize tunes," thereby undermining the improvisational ethos of jazz. In the digital era post-2020, apps like iReal Pro and online platforms such as realbook.site have been praised for offering customizable, accurate charts that surpass the book's limitations, rendering it increasingly obsolete for contemporary practice.^[27]^[28]^[29] Despite these flaws, the Real Book endures as a cultural icon symbolizing jazz's DIY ethos, embodying the improvisational and subversive spirit of the 1970s Berklee scene where students photocopied and shared it underground to democratize access to repertoire. Its bootleg circulation challenged formal music publishing, highlighting tensions between artistic accessibility and copyright ethics, as the unauthorized compilation denied royalties to composers while enabling widespread education. This legacy of accessibility has influenced non-jazz formats, inspiring legal series like Hal Leonard's Real Pop Book, which applies the lead-sheet model to contemporary hits. However, the book is critiqued as outdated for modern hybrid genres like hip-hop jazz, lacking charts for post-1980s innovations and failing to reflect the genre's evolution beyond traditional standards. In response to ongoing accuracy concerns, Berklee Press released a new edition in February 2025, curating over 300 verified staples for gigging musicians to address historical errors.^[2]^[30]^[31]^[32]

Hal Leonard Real Book Series

The Hal Leonard Real Book Series, launched in 2004, represents the official legal continuation of the iconic jazz fake book tradition, beginning with the sixth edition of Volume I as its flagship, which contains 400 essential jazz standards in lead sheet format.^[1] This edition corrected inaccuracies from prior bootleg versions while securing proper licensing for all compositions, ensuring musicians could access reliable transcriptions of classics like "Autumn Leaves" and "All Blues."^[33] The series has since expanded to six main volumes (I through VI), supplemented by play-along editions that provide backing tracks for practice and performance.^[34] A key distinguishing feature of the series is its adaptation for various instruments, offering transpositions in C, Bb, and Eb versions to suit common jazz ensembles, alongside dedicated bass clef editions tailored for bass, trombone, and other low-register players.^[35] Starting in the 2010s, later printings incorporated digital audio tracks accessible online, allowing users to play along with professional rhythm sections on selections from the volumes.^[36] These enhancements prioritize usability for gigging musicians, with compact mini editions also available for portability without sacrificing content.^[37] The series continued to grow with Volume VI, released in 2016, which added 400 new tunes without duplicating prior volumes and emphasized contemporary jazz composers, including works by artists like Kurt Rosenwinkel alongside modern standards such as "Baker Street."^[38] Overall, the volumes collectively feature more than 1,500 unique tunes, spanning traditional standards to post-bop and fusion eras.^[39] By 2025, the Hal Leonard Real Book Series had solidified its position as the best-selling jazz publication worldwide, bolstered by digital partnerships for e-book and app-based access that extend its reach to mobile users and educators.^[23]

Alternative Fake Books

Sher Music Co. published The New Real Book series starting in 1988, with Volume 1 featuring 219 lead sheets of modern jazz standards and originals, including compositions by Pat Metheny, focusing on post-1960s tunes approved by living composers for legal accuracy.^[40] Volume 2 followed in 1991 with another 219 charts, and Volume 3 in 2005 added over 200 more, emphasizing contemporary jazz while maintaining high transcription standards endorsed by artists like McCoy Tyner and Ron Carter.^[41] Unlike earlier unauthorized collections, these volumes prioritize composer permissions and precise notation, selling over 100,000 copies as a legal alternative for professional musicians.^[40] Jamey Aebersold's play-along series, launched in the 1960s, complements fake books by providing lead sheets bundled with audio recordings for improvisation practice, covering jazz standards and originals across 133 volumes (as of 2025).^[42] These sets include books with chord charts and melodies, accompanied by CDs or digital tracks featuring Aebersold on piano and guest artists, enabling soloists to rehearse in various keys and tempos.^[43] The inclusion of audio distinguishes them from print-only fake books, supporting education and gig preparation since their inception.^[42] Sher Music's The European Real Book, first released in the 1990s, offers 182 lead sheets of contemporary European jazz compositions by artists like Michel Petrucciani and Enrico Rava, filling a gap in American-centric collections with a focus on international sounds.^[44] This legal edition features composer-approved charts in an easy-to-read format, spanning virtually every European country and emphasizing post-1980s innovations.^[45] Alternative fake books often surpass the original in transcription reliability and supplementary features, such as integrated audio tracks in Aebersold volumes or digital editions of the New Real Book allowing printable sheets and interactive navigation.^[46] In February 2025, Berklee Press released The Berklee Real Book, a new collection of 300 contemporary jazz standards and originals, providing updated repertoire for modern musicians.^[9] Post-2020 digital alternatives include apps like iReal Pro, which provide searchable lead sheets with customizable backing tracks for jazz standards, and Fakebook Pro, offering PDF imports and Spotify-linked audio for over 1,500 tunes.^[47] These tools enable on-device access to collections mimicking Real Book content, with features for transposition and annotation, though they rely on user-uploaded or licensed PDFs to ensure legality.^[48]

References

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