Best Multi-Genre Songbook/Fakebook for a Jam?

**Ed Goist** · Jul-04-2012, 9:20am

I'm involved in a recently started twice-a-month jam session.

I'm really excited to be involved with this jam! As a group, We don't seem to have any underlying genre focus, playing everything from contemporary songs, to Spirituals, to Old-Time Classics. We also seem to have great variety when it comes to instruments (at our last session, we had NO six-string guitars present!).

However, one of the things we are struggling with as a new jam group is having written material for the songs that works for everyone. For each song, we need notation and chord charts for the players, and lyrics for the vocalists.

So, I'm looking for suggestions for songbooks and fakebooks that have these three things for each song, and also contain songs from multiple genres and time periods. (Oh, and mandolin tab would be a plus, but not a necessity. I'm working hard to learn melodies and leads by ear, and if I absolutely wanted to, I could tab-out a melody from the notation.)

**multidon** · Jul-04-2012, 9:30am

Ed, I like the "Bluegrass Fakebook", published by Cassette and Video Learning Systems. Most of the songs within are old-time as well as bluegrass, and 50 of the 150 songs are gospel. They have notation, lyrics and chord symbols.

**montana** · Jul-04-2012, 10:06am

I don't think there is such a thing but with computers and scanners I'm sure you could create the perfect fake book. Also by adding an Ipad, kindle , netbook ect you could have something you could really use.

**Mandobart** · Jul-04-2012, 12:21pm

I'm not sure there is one great fakebook to cover it all. Most of the ones I have run ~$20; so to get a collection of the 3 - 5 books that cover everything you do, for each jam attendee, runs into some investment. Here's two things we've done:

1. I've seen where someone at the jam uses a whiteboard or flip chart paper to write up chord progression (helps that one of our jams meets at a Sunday School classroom). This is kind of tedious and takes time away from playing.

2. Someone, jam leader, whoever, sends an e-mail out to the jammers the week before with the songs you'll be doing, including chord sheets and vocals. Most songs can be found on-line at chordie or somewhere similar. Attendees can print them out for their use, as well as run thru and practice a little ahead of time. Of course this doesn't work great for folks without internet, or aren't on the mailing list, or just heard about the jam the day before and drop by. Hopefully, there will be enough folks with the printed mat'l to share. However, the bit of preparation done by those who did get the message and ran thru the tues ahead of time really helps with the jam flow, IMHO.

**Marty Henrickson** · Jul-04-2012, 4:57pm

Ed, I have a book (at home, I'm at work right now) with chords and notation to 1,000 folk songs. Their interpretation of "folk" is pretty wide, however, and includes some international material, as well. I'll get you the title, and maybe a link, after I get home.

**multidon** · Jul-04-2012, 5:14pm

The poster above may be referring to "The Folksong Fake Book", published by Hal Leonard. I paid 24.95 a few years ago. Meets your requirements but big, heavy, and nothing truly contemporary. You will, I predict, have the most trouble finding contemporary songs in a fake book. Old Time and gospel, piece of cake. I still like the one I mentioned above too. Lighter and easier to carry, 150 songs, all solid choices. Of course the other poster has a point with making up your own from online resources. That's what my band does. That way everything you tote around is something you are going to play. Trouble with fake books is that you end up toting around dead wood you never use. Another, more technological thought that I've actually considered, but I'm too much of a technological idiot to pull it off- what about scanning all your music into an iPad? How cool would that be?

**Marty Henrickson** · Jul-04-2012, 5:21pm

That's it, Don. Same price and everything. It definitely would be a bear to carry, and you probably wouldn't use a fraction of what's in there, but it could be a good resource to mine songs from.

**Ed Goist** · Jul-04-2012, 7:30pm

Thanks for all the responses. Lots of helpful stuff here.
We are kind of building a song repertoire from multiple sources (printed and on-line), and making copies for the jam attendees.
What I'm looking for is a single resource that will provide us with as many songs as possible that we'll want to do. (Like Marty said: "Mining songs" - That's exactly my objective.)
The trick so far has been finding chords and notation. As Multidon points out, it's really hard to find notation for more contemporary songs. (The publishers seem to do an admirable job of keeping free versions off line

).

**mandolinlee** · Jul-04-2012, 10:18pm

Ed: I will PM you some info I recently rec'd from another musician that should help and be of interest.
Lee

**resophil** · Jul-05-2012, 8:10am

Before you are compelled to assemble a weighty tome of music and lyrics, I'd invite you to step back for just a minute and consider what the essence of a "jam session" really is...

Jams in their purest form, concentrate on people and music, the aural kind. The instrument, be it vocal or stringed or brass or whatever, expresses the human emotion of.... you guessed it, PEOPLE! The most effective way of connecting people in a jam session is when they connect heart to heart, not through the collective efforts that may flow forth from the printed page. There is something much more visceral about good music born of a good spontaneous jam session.

Compare the end of a tune in a good jam session to the end of a good orchestral performance. An orchestra may end with a flourish, but often the human emotion is sadly lacking. Body language and facial expression usually remain somber. Often they're busy rearranging their sheet music for the next tune... A truly great performance breaks through these barriers. The end of a good tune in a jam session can be punctuated by flourishes of body and voice and instrument, and smiles and grunts, shouts and laughter all around... Much more visceral!

For this reason i always encourage people who ask to, yes, assemble such a book, but to leave it at home when they go out to jam. Use it as an educational tool only, but when you go out to make music, make music from your heart and soul and memory, not from a printed page. Learn a couple of tunes very well, be able to present them to the group with a measure of confidence, and see if your efforts don't spur on others through infectious enthusiasm...

Pay attention and learn tunes that are presented in like manner and commit them to memory. A good jammer can hear a tune once and reproduce it...

A musician who shows up in a good jam with a music stand and satchel full of books as well as his instrument, is sometimes encouraged (very subtly) to find another jam session. This may not be the case in your circumstance, since apparently you are all at more-or-less the same skill level. But it's something to be aware of...

**multidon** · Jul-05-2012, 9:17am

Jams in their purest form, concentrate on people and music, the aural kind. The instrument, be it vocal or stringed or brass or whatever, expresses the human emotion of.... you guessed it, PEOPLE! The most effective way of connecting people in a jam session is when they connect heart to heart, not through the collective efforts that may flow forth from the printed page. There is something much more visceral about good music born of a good spontaneous jam session.

And here we have the gist of the conflict I've been seeing since I got involved in folk music; the conflict between those who learned music by ear and those with "classical" training. All of those who are able to memorize and learn by ear in the folk tradition, you have my admiration. But that's not me. I am "paper trained", and I am lost without my music and music stand in front of me. My book of tunes in over 150 songs in a small 1" binder, not a weighty tome by any means. It's loose leaf so I can add and subtract as the need arrises. It never gets in anyone's way and I can't imagine why anyone cares whether I have it or not. How does it affect them adversely? And if I showed up to a jam with my book and stand, I am trying to imagine how "subtle" the "encouragement" to find another jam would be. If that happened to me, it would likely be a bunch of people I wouldn't want to be with anyway. So, those of us who know how to read music and actually need it in front of us are not welcome in the folk music world? Just goes to show you you can encounter snobby attitudes on both sides of the fence. Resophil even claims that emotional responses in a jam are superior to those in a classical performance!

There are emotional responses in all music. To elicit emotional response is the very reason for the existence of all music. Just because the performers or listeners remain somber doesn't mean there aren't POWERFUL emotions going on.

I know that this isn't Ed's intention, to go in this direction. Ed started a pretty direct and straightforward thread, asking for information. Ed, I apologize to you. I do not want to hijack this thread. But I just couldn't let what Resophil said go unanswered. And if he participates in a jam where GOOD musicians are made to fell unwelcome just because they have the NERVE to show up with (gasp!) WRITTEN MUSIC, then I submit that is the exact opposite of what a jam should be.

**resophil** · Jul-05-2012, 9:54am

Have you ever moved in to sing harmony with someone on the chorus of a song in a jam session, only to find that their attention is not on the people trying to harmonize with them, but on a sheet of music? When you've done that, then you can lecture me on how a music stand and sheet music don't reduce spontanaeity... and render the user immobile... Nothing kills good harmony singing like having a disconnected participant.

I've seen it time and again; people who are glued to their music stands in a jam just don't establish as much rapport with their fellow musicians when part of their attention is on their sheet music! Argue as you will, but it happens! Consistently!

I said that some performances were more visceral than others, not superior! If you're going to argue a point, at least read what was written, before posting! Some performances are more cerebral, some are more visceral! Superiority is in the ears of the beholder. In an orchestral performance, a musician's main human interaction is with the conductor, who is generally absent in a jam session. A 'jam session" where everyone's attention is on sheet music has more in common with a chamber music recital than a true jam. (I read music, big band charts, and play in orchestral and band settings as well as jamming. When in Rome, you do as the Romans do...)

I would suggest that if good musicians show up at a jam and feel uncomfortable because they feel they don't fit in, then they should alter their methods to fit in, not expect the whole group to revolve around them. As far as the "subtlety" of the reaction in a jam session, if a singer or musician in a jam circle won't interact with me because his attention is on his music stand, then I won't make a second attempt to harmonize or interact with him unless I see a change in his ways.

And, yes, that's the gist of the conflict!

**multidon** · Jul-05-2012, 10:20am

And, yes, that's the gist of the conflict!

Well, Resophil, at least we agree on something!

I just feel like jams are informal affairs that should be welcoming and inviting to newcomers. By definition it is not a gigging band, is it? If I ran one that's how I would try to be. You felt the written music got in the way of your jams. I have never been made to feel that way, fortunately. And you are right about the player trying to change to fit in. But, respectfully, that's not what you originally said. Here is the quote:

A musician who shows up in a good jam with a music stand and satchel full of books as well as his instrument, is sometimes encouraged (very subtly) to find another jam session.

Sounds to me like you're saying that if I showed up the very first time with my "satchel full" of books (in my case, my little old 1" binder) I would be made to feel unwelcome the first time. That's how I interpreted it due to the fact that you didn't say anything about taking me aside and explaining to me that I should think about trying to improve my memorization skills so that I would fit in better. Your first post didn't mention anything about being helpful, friendly, or supportive. Neither did your second post in which you said:

As far as the "subtlety" of the reaction in a jam session, if a singer or musician in a jam circle won't interact with me because his attention is on his music stand, then I won't make a second attempt to harmonize or interact with him unless I see a change in his ways.

If i were the musician in question, I would be left confused by your actions. How would I know that I need to "change my ways", and in what way I should change them? You wouldn't be talking to me, just ignoring me. I would be unable to discern WHY you appear to dislike me so much as to not interact with me. Being someone who is used to using music and not being able to read minds I would quit coming and still be in the dark about why I was so disliked. Your actions could not be construed as subtle by any stretch of the imagination. It seems to me that the regular members of a jam bear some responsibility to explain expectations to newcomers. Just shunning them because the expectations were not clearly communicated only creates a person who will tell other that particular jam does not welcome newcomers.

I did read the post very carefully before posting. It sounded to me from the context and usage that you felt "visceral" was superior. I do apologize if i was incorrect in my interpretation.

I would imagine that it is fortunate we live 3000 miles away from one another and therefore are unlikely to be in the same jam session any time soon!

**UsuallyPickin** · Jul-05-2012, 10:30am

There is a series of three books full of word and chord renderings of songs. The books are Blue Yellow and Green, published by Joe Morrell books Bristol, Tn. I have a set and they contain a lot of oldtime as well as Blue Grass songs. Truly though you may better off mining the internet and assembling your own notebook. THe books I am speaking of are set up in such a fashion as to be difficult for a play as you read experience ,but they are thin enough to keep in your case , depending on your case of course, might be better as a learning tool. Whatever gets you there. An organized jam is something I've never experienced. Might be nice. I have been to jams where one jammer tries to dictate what is and is not acceptable.... not so nice. If you have the music you have a friend for life... Come on in the music's fine... R/

**resophil** · Jul-05-2012, 11:46am

Really high-level jams are not "feel-good, all-inclusive, Kumbaya" experiences!

The term originated with the early-days-of-jazz "cutting sessions", which were, pure and simple, competition between musicians to see who had the best chops. The whole exercise was one designed to "cut" your musical opponent down to size. The best music resulted from musicians pushing each other to the limits (and beyond). No one dictates what's acceptable; the only dictation one can do is with one's instrument. Play better than your opposite number!

There is still some of this left in modern, high-level jams. No one is going to take you aside and gently explain things to you, lest your feelings be hurt... There is a great deal of "mind reading" and "subtlety" going on all the time. Stand around for a couple of evenings before you dive in and see if you think you'll have the chops to fit in in this jam.

There's a whole lot of interaction in a modern jam. Harmony parts are established, solos are assigned, breaks are split, all through body language without ever uttering a syllable.

It's not the easiest thing to take it all in, but it is very possible. It takes open ears, eyes, and most importantly, an open mind. Don't go to a high-level jam to feel good. Go to be humbled and to learn something. There's always gonna be somebody better'n you, and the sooner you can figure it out, the better.

**multidon** · Jul-05-2012, 12:02pm

Resophil- Your insights on this topic have been most enlightening. Thank you for your input, and I mean that sincerely. Pretty much everybody is better than I am, so I don't need to be "cut down to size" to realize it. I would guess that to attend one of these "high level" jams one has to be invited, and the person doing the inviting would have to be of the opinion that the invitee was up to it. I guess that's why I've never been invited to a "high level" jam. I would much rather go to one that is, what did you call it? "feel good, all inclusive, Kumbaya?" I thought the point was to have fun, and trying to "cut" other people is just not my idea of fun. So i guess I will never attend a jam like that because I refuse to play that game. I find it interesting that you subscribe to this "cut" theory while attempting to "harmonize" with others. The two concepts sound diametrically opposed to me, but that is only my opinion
.
Oh well. One man's meat is another's poison, I always say. If your way of running a jam works for you, great, and I wish you continued success with it. I continue to look for ones that work for me.

Since we have temporarily hijacked this thread, I hope that now Ed can return to getting back to his original purpose, book suggestions. If you would like to discuss this further we can use the PM system. However, I suspect we have both said everything there is to say on the topic and neither one of us is likely to hange the other's mind. This would have made an interesting thread on its own!

**Ed Goist** · Jul-05-2012, 12:16pm

As a result of this thread, a very generous Cafe member sent me a private message informing me of this incredible site:
http://www.wikifonia.org/
I thought I would share it here with others who might be interested.
This is pretty much exactly what I am looking for. It even offers a 'transpose' feature which changes the song key (chords & melody!

)...Pretty spiffy!
Now I'm not even sure I'll need a book to augment this incredible site.
Thanks again.

**CES** · Jul-05-2012, 12:39pm

phil and don, I actually agree with both of you!

For a higher level player, I doubt there's much better than trading licks with a musician as good or better than you, especially when you're able to rise to that occasion and, maybe, even break through boundaries in your own playing because you're being pushed beyond what you thought you could do. From an athlete's perspective, this makes perfect sense to me, because you grow through challenge and, sometimes, failure, not by competing with or against lesser athletes (or, in this case, musicians).

At the same time, I have CRCL disease (can't remember chords and lyrics

. Not really, but I have a pretty broad reaching music library and tend to get into various branches of music for periods at a time. So, I may learn a song well, but then not play it again for months...the chord sheets really are just a reminder at that point, but often essential (especially if a couple of adult beverages are involved). If I attended a regular jam where the same 40 or 50 songs were cycled through, this probably wouldn't be an issue, but I don't. I also know that I stink, and so know when I'm completely outclassed musically (which is quite often)...I tend to stand back, play quietly, and follow the leader in those situations.

At any rate, I think there's room for both approaches, as long as everyone understands and accepts their role/ability to participate in a given situation.

Ed, I think your best bet is, probably, to make up your own book via the magical WWW. Those mentioned above are good resources, but I can't think of one "all-inclusive" fake book that spans all genres. From a rock perspective there're a couple of "Ultimate" collections or "Bibles," usually by decades, that may work as a piece to the puzzle. I also remember buying a book with a nice collection of jazz standards a couple of years ago, but can't remember the title (one of my phases I haven't made it back to yet). Same goes for country. Depending on where you meet, you could also do it all via laptop or tablet and even project the sheets onto a compatible tv or projection system (thinking classroom style)...

Ed, was typing while you posted...thanks!

**Mike Bunting** · Jul-05-2012, 12:47pm

For some reason folks these days refer to hootenanny or singalong as a jam.

**multidon** · Jul-05-2012, 12:58pm

Ed- That is an AWESOME site! I was skeptical that they were operating within copyright guidelines but I read the FAQ section and apparently they are licensed to do what they do. I'm sure there are a lot of people on this forum who will find it useful, myself included. Thank you for posting it!

**catmandu2** · Jul-05-2012, 1:03pm

Ed, Don Vappie (I think it is) offers customized songbooks--that is, you choose what songs. The chord diagrams are for plectrum banjo, and the books themselves are pretty pricey. But the content is great as the choices cover all the standards

Or, maybe its Van Pelta...? It's been a while

**Mandobart** · Jul-10-2012, 2:42pm

Thanks for the link to the Wikifonia site Ed! That's pretty cool!

Now as far as the "other" thread living in this one, of written vs memorized or aural music, I can say a little about both of these. There is a common perception (misconception?) among those that can't or choose not to read notation/tab that those that do, especially those musicians with classical training, have no soul, emotion, feeling, etc. in their playing. There is another misconception among those with formal music training that those that play only by ear have no knowledge of music theory. Both of these are false.

I started on violin in grade school and continued thru high school in orchestra and jazz band. Anyone who says there is no emotion or feeling in a classical performance is speaking from pure ignorance. If you've never done it, you wouldn't understand it. It is an incredible feeling to play a piece with a full symphonic orchestra after months of practice and hard work. There is plenty of room for emotional expression in playing music off a score. As a kid I was in a small string group that played hymns for midnight mass every Christmas Eve. A truly moving experience for the performers and the audience who sang along.

Likewise those of us with formal training who dismiss self-taught musicians that learn by ear as lesser musicians have never developed their ear or explored improvisation. I've heard that Bela Fleck does not read music, and he has composed and performed some amazing music. I'm lucky (yeah, luck spelled "30+ years of hard work") that I have a good ear and am able to pick up any song in any key and play along with just about any band. If asked to choose one or the other (reading notation or playing by ear) I would refuse to make that choice. They both work. I've been to a lot of jams and never seen anyone discouraged from bringing sheet music, chord sheets, etc. However, sometimes a song will be called in a key different than the sheet music, so it is not always helpful.

I've also not seen people discouraged from attempting to follow by ear, only suggested that they ought to play softly until they get it down.

**robster** · Jul-10-2012, 3:08pm

Over a year ago three of us started jamming every Saturday. We are up to eight regulars now. Guitars, bass, harmonica, drums, singers. We range from Patsy Cline to Pink Floyd. We rely on tabs for chords and lyrics, our music nor will chart lead solos for our sad player. Most tabs need tweaking, so it makes it easy to make chord changes. We save each song in Dropbox and each member is responsible for printing their own sheets. Works for us.