历史与人物99percentinvisible.org
真实的爵士乐谱集 The Real Book
The Real Book
2021 — 2025，它一次次回到首页
黑点是上首页（≥ 50 分）的那次投稿，空心点是没冲上去的投稿，点越大分数越高。
导读
99% Invisible 的这期节目讲述了爵士乐手人手一册的《Real Book》——一本最初由伯克利音乐学院学生非法手抄、私下流传的爵士标准曲集。它收录了数百首经典曲目的旋律与和弦，虽充满错误却成为几代爵士乐手的入门通行证，后来还衍生出合法出版版本。
为什么经久不衰：它既是一段关于地下抄本如何塑造一种音乐文化的有趣历史，也道出了'不完美的工具反而打开大门'的道理，对任何领域的自学者都有共鸣。
HN 评论精选
Real Book 曾是半地下流通物，买到它像加入秘密社团
我十几岁时，音乐老师总有一本 Real Book。我去本地琴店找这本书，店员问'需要帮忙吗'，我说要 Real Book，他说'哦，这个我们不摆在外面'……然后从后屋拿出一本。那一刻我感觉自己被接纳进了一个秘密俱乐部。
bonthron查看英文原文
When I was a teenager, my music teacher always had a copy of the Real Book around. I went to a local music store and was looking through their music books when one of the employees asked, 'is there something I can help you find?' When I said the Real Book, he said, 'oh, we don't keep that out here'... he disappeared for a minute and came back with a copy from the back room. At the time, I felt like I had been admitted into a secret club.
敬佩早期转录者纯靠耳朵手工记谱的功力
我学萨克斯时老师有一本旧 Real Book。那些爵士大师曲目的转录让我震撼——没有软件辅助，全靠反复听录音、手工记下和弦进行与飞快速度，能做这些的人是天才（现在也这么认为）。
pthreads查看英文原文
When I was learning to play the saxophone my instructor had an old copy of the Real Book. The transcriptions of songs by some of the jazz legends would blow my mind. I thought the people being able to transcribe those were geniuses (still do). They had no sophisticated software to help them. It was all done manually by listening to countless hours of recordings over and over again. All those chord changes, harmonies, the extra fast tempo... That also reminds me of Phil Schapp. He used to run (probably still does) a radio program at Columbia University. Most astonishing encyclopedic knowledge of jazz!! Have a listen sometime. https://en.wikipedia.org/wiki/Phil_Schaap Edit: Added Wikipedia link.
Real Book 是绝佳拐杖，但最终要靠耳朵超越它
我是贝斯手，1982 年拿到 Real Book。作为郊区孩子，没人教我如何从录音里学和声，是它让我跟上曲目、和远胜于我的乐手同台。但后来我扔掉了它，逼自己靠耳朵在台上记曲子。所以我对爵士演奏做得最好的两件事是：买一本 Real Book，和扔掉它。
analog31查看英文原文
I'm a bassist. I got my Real Book in 1982. I was already playing in the high school jazz band, but as a suburban kid, I had zero exposure to things like jam sessions and live jazz performances. Nobody had taught me how to learn harmonies from recordings, so I was kind of lost. The Real Book gave me a way to follow recorded tunes and grasp what the players were doing. Later on, being able to play from "lead sheets" enabled me to play with musicians who were a lot better than me, and was really how I learned to play. But eventually, I was hauling a ton of fake books to every gig. About 20 years ago, I was running late, and decided to leave my fake books behind. And I survived. I had memorized most of the tunes that were played regularly in my locale, and forced myself to learn the rest by ear, on the bandstand. So I tell people that the two best things I've done for my jazz playing were: Getting a Real Book, and getting rid of my Real Book. Today, those tunes are hopelessly overplayed, and I prefer finding bands to play with, who are willing to venture off the beaten path, with less familiar tunes or especially original material.
analog31查看英文原文
I'm a bassist. I got my Real Book in 1982. I was already playing in the high school jazz band, but as a suburban kid, I had zero exposure to things like jam sessions and live jazz performances. Nobody had taught me how to learn harmonies from recordings, so I was kind of lost. The Real Book gave me a way to follow recorded tunes and grasp what the players were doing. Later on, being able to play from "lead sheets" enabled me to play with musicians who were a lot better than me, and was really how I learned to play. But eventually, I was hauling a ton of fake books to every gig. About 20 years ago, I was running late, and decided to leave my fake books behind. And I survived. I had memorized most of the tunes that were played regularly in my locale, and forced myself to learn the rest by ear, on the bandstand. So I tell people that the two best things I've done for my jazz playing were: Getting a Real Book, and getting rid of my Real Book. Today, those tunes are hopelessly overplayed, and I prefer finding bands to play with, who are willing to venture off the beaten path, with less familiar tunes or especially original material.
错误百出却是'开门人'而非'守门人'
Real Book 是个伟大又古怪的学习工具。爵士教育的成人礼之一，就是发现你最喜欢的曲子在书里其实记错了——不是 Miles Davis 错了，是 Real Book 错了！它有缺陷，但它不是守门人，而是开门人，是邀请你深挖的入口。
blueboo查看英文原文
The Real Book is a great and weird learning tool. It's a rite of passage in jazz education to realise that your favorite tune isn't actually how it was written in the Real Book. Miles Davis didn't get it wrong -- the Real Book did! And just like that, you have your first bit of secret jazz knowledge... There are also some dated, now-seemingly-bizarre choices that were included. These quickly become in-jokes among folks boning up on classic tunes. "Should we do Speak No Evil, Ceora, or...General Mojo's Well-laid Plan?" My favorite weirdness is the creative harmonisation of late 60s free jazz. The chords offered for "Orbits" are quite cool but very much the transcriber's imagination. Yes, it's inadequate and flawed if it's the only resource offered. But it's no gatekeeper, it's a gate-opener. I prefer to see it as an invitation to dig deeper. Someone practicing "Billy's Bounce" might gaze in disbelief at "Some Skunk Funk". What's going on with the mixed meter in this Charles Mingus guy's tunes? And thus it facilitates our going out to discover more styles, more players, more music.
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