opts] WRITING A LEAD steer d-Sheet Styles L080 5 music that is notated with melody, chord symbols and if applicable 13 sh ition of big bands, jazz 10d eet pe excep ig , jazz musicians rarely (if ever) use scores that are \ yes WA ote for note; lead sheets are the norm. There are two styles of lead sheets, ot : cate ee style 1 is by far the most common, and uses a single-stave format gies? cw’ Ff a ew f ead fo the sil - ver lin. - ing when eer a rythm section players are more concerned with the chord changes of a song than BY elody and lyrics, and for that reason lead sheets are often written with only chord \d slashes that represent beats of the measure: symbols ane Bruas7 cM? Ff? ae cu? ‘7 his type of lead sheet is quite common and sufficient for use on most gigs, simple as it be. The entire gig book of many jazz singers is made up of lead sheets with chord mi symbols and slashes only. @d Ree less experienced players, it’s a good idea to include the melody TIP on your lead sheets. This may help them play for you in a more musical way because they can visually follow along with your singing, making it easier to complement you. It also allows them the possibility of being able to reference the melody in their intros or other places in the song. Lead Sheet Style 2 represents the music in a double-stave format, allowing the melody and lyrics to be especially clear and easy to read: Look shar? Lead Sheet Style 2 is useful in situations when the pianist needs to closely follow the singer, such as in rubato. It is also commonly used when a written out piano or bass patt is required,Basic Layout {The goals for your tea sheet to be a clear and legible ax possible, making I easy 10 eas? (uel use single stave lead sheet eth slashes as an example 1. write in the title and composer at the top, the rhythmic style (swing or bossa for xample) on the let side, the key signature and Une time signature on the first Stowe! Optional: wate in specif tempo marking. Determine the song form of the tune and mark in all bar lines accordinaly. Optional” leave the top ine open for the adcition ofan intro later, Use a ruler when ‘Serking bat lnes, snd ty to make four measure lines In most cases. Use repeats when possible rther than writing out the entre tune long hand. (See Chapter 8 for more Sbout song torr) nO nctup notes (such as first three notes of “Autumn Leaves”) would be Te ete etna tne irs son adn eto mesure the miro to accommodate them, Pickups are melodic notes that occur Delore the fst complete measure of a phrase. fxample Lead Sheet 1, “Lullaby of Birdland,” shows the layout of a typical ABA tune. Notice that there are sx meatures on the second line to aecommodate slight differences between the rst and second A sections nor wt Pant : = EPPA breezes I ASectlons F— A Section — 8 Section —T— A Sections —, ieee cecUON Gas faga BSection WHEN | FALL IN Love YOUNG/ HEYMAN vis? C47 Fu ra Bias? 047 Fu? w Fu? 7 ow? C’sus c fw? cee ee re Re gh a? oo =e Fw? 97)| 0) Look Foe THE SILVE? LINING (key oF 8b) s WWor0s 97 5 OxSrUA, Moe BY TEIOME Key Comosto wm 1920 cloud “p= pears in the blue Re = mem - ber some = where, and so the right thing to do is make it’ shine — for you. A Bhar? cu? f7 ah cu? ‘7 heart full fs joy and glad = ness will al ~ ways Fa? 8h Ebmaa? Qu? q eter B)mar7/D look for. the sil - ver lin - ing 4? Cu? Ff she and ry to find «the sun-ny side of iife,