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Table of Contents
What is a Jazz Standard?
A jazz standard is a musical theme that has acquired a certain notoriety in the jazz genre, which is known by many musicians and which has been the subject of numerous versions, interpretations and improvisations, and which is frequently used in jam sessions and performances.
There are standards from all eras of jazz, such as ‘When the Saints Go Marching In’, ‘I Got Rhythm’ or ‘How High the Moon’, ‘Take the ‘A’ Train’ to cite examples of the hot, swing and bop.
Many of the best-known standards were composed for films, or come from the so-called Great American Songbook, and have been incorporated into the genre, such as, for example, ‘Summertime’, by George Gershwin, while, for example, ”Round Midnight’, by Thelonious Monk, has been covered by, among others, Cootie Williams, Dizzy Gillespie, Art Pepper, and Miles Davis.
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The most recorded standard composed by a jazz musician, and one of the most covered songs of all time, is Duke Ellington’s and Juan Tizol’s “Caravan” with over 500 uses.
Originally, the most recorded jazz standard was W. C. Handy’s “St. Louis Blues” for over 20 years from the 1930s onward, after which Hoagy Carmichael’s “Stardust” replaced it. Following this, the place was held by “Body and Soul” by Johnny Green.
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Before 1920
At the beginning of the 20th century, jazz was still considered dance music. The first Dixieland groups remained influenced by this image: King Oliver and his Creole Jazz Band, the New Orleans Rhythm Kings and many other groups included Tin Pan Alley in their repertoires, and record companies sometimes dictated the list of titles that must be recorded by their artists.
Certain imposed songs have thus become standards, such as Darktown Strutters’ Ball or (Back Home Again in) Indiana, recorded by the Original Dixieland Jass Band at Columbia Records in 1917.
Also, among the standards of this era are the songs After You’ve Gone (Turner Layton and Henry Creamer, 1918) and Some of These Days (Sophie Tucker, 1910).
The 1920s
The Jazz Age began in the United States in the 1920s. Jazz became popular there, even though the older generation considered this music immoral and endangering their cultural values.
The first artist who allowed himself to freely choose his titles was Louis Armstrong, who popularized many standards during the years 1920 to 19301. The popular tunes of the 1920s were songs like Sweet Georgia Brown, Dinah or Bye Bye Blackbird.
Some compositions from this era written by jazz musicians have become standards such as Honeysuckle Rose (1928) and Ain’t Misbehavin’ (1929) by Fats Waller. The song Stardust by Hoagy Carmichael and Mitchell Parish is the most recorded jazz standard of the 1920s. Others are written by Broadway composers such as The Man I Love by George and Ira Gershwin (1924), Blue Skies by Irving Berlin (1927), or What Is This Thing Called Love? by Cole Porter (1927).
However, it was not until the 1930s that jazz musicians became comfortable with the complex melodies and sophisticated harmonic grids of Broadway tunes, and used them regularly in their repertoires.
The 1930s
Broadway contributed some of the most popular standards of the 1930s, including the famous Summertime from the comedy Porgy and Bess by George and Ira Gershwin (1935), My Funny Valentine by Richard Rodgers and Lorenz Hart (1937), All the Things You Are by Jerome Kern and Oscar Hammerstein II (1939), and Body and Soul by Johnny Green (1930). These standards are among the most recorded.
The 1930s saw swing establish itself in American music. Duke Ellington and his musicians composed many themes which would become jazz standards: It Don’t Mean a Thing (If It Ain’t Got That Swing) (1932), Sophisticated Lady (1933), Caravan (1936) among the most famous.
The swing era (1935–1946) is that of the greatest big bands, such as those of Benny Goodman and Count Basie, who also participated in the repertoire of jazz standards.
The 1940s
New themes became popular, such as Cotton Tail by Duke Ellington (1940) or Take the ‘A’ Train by Billy Strayhorn (1941). The Second World War was a difficult time for big bands, and small groups developed.
The arrival of bebop brought out a new audience sensitive to sophisticated harmonies, fast tempos, and the virtuosity of the musicians. Their repertoires largely use the standards of the 1930s, but their compositions will also enter the list of standards: Salt Peanuts (1941) and A Night in Tunisia (1942) by Dizzy Gillespie, Anthropology (1946), Yardbird Suite (en) ( 1946), Scrapple from the Apple (1947) by Charlie Parker, or ‘Round Midnight (1944) by Thelonious Monk.
The 1950s and beyond
Some modal jazz recordings became popular in the late 1950s, such as the albums Kind of Blue by Miles Davis in 1959 with the compositions All Blues and So What, Impressions (en) by John Coltrane in 1963, or Maiden Voyage by Herbie Hancock in 1965.
In the mid-1960s, Miles Davis’ second major quintet with Wayne Shorter and Herbie Hancock recorded a series of albums which contained standards such as Footprints (Wayne Shorter, 1966) and Freedom Jazz Dance (Eddie Harris, 1966).
At the end of the 1950s, bossa nova appeared in Brazil, a mixture of samba and jazz, made popular by João Gilberto, Antônio Carlos Jobim and Luiz Bonfá. Gilberto and Stan Getz launched this trend in the United States in 1964 with the famous Getz/Gilberto album. Among the standards of the genre are compositions by Bonfá (Manhã de Carnaval, 1959), Marcos Valle (Summer Samba, 1966), and numerous songs by Jobim such as Desafinado (1959), The Girl from Ipanema (1962), Corcovado (1962).
In the mid-1970s, jazz fusion appeared, which was a mixture of jazz, funk and rock. Joe Zawinul with Weather Report, Chick Corea with Return to Forever, Herbie Hancock with The Headhunters, or John McLaughlin’s Mahavishnu Orchestra considerably broaden the jazz audience, and some of their successes have become standards: Spain (en) by Chick Corea (1971), Chameleon by Hancock (1973), and Birdland by Joe Zawinul (1977).
Jazz standards
Musical compositions that have become jazz standards.
Irving Berlin – Alexander’s Ragtime Band [1911]
“Alexander’s Ragtime Band” is a Tin Pan Alley song by American composer Irving Berlin released in 1911 and is often inaccurately cited as his first global hit. Although not a traditional ragtime song, Berlin’s jaunty melody nonetheless “sold a million copies of sheet music in 1911, then another million in 1912, and continued to sell for years afterward.
It was the number one song from October 1911 through January 1912.” The song might be regarded as a narrative sequel to “Alexander and His Clarinet”, which Berlin wrote with Ted Snyder in 1910. The earlier song is mostly concerned with a reconciliation between an African-American musician named Alexander Adams and his flame Eliza Johnson, but also highlights Alexander’s innovative musical style.
Berlin’s “Alexander’s Ragtime Band” was introduced to the American public by vaudeville comedienne Emma Carus, “one of the great stars of the period.” A popular singer in the 1907 Ziegfeld Follies and Broadway features, Carus was a famous contralto of the vaudeville era, renowned for her “low bass notes and high lung power.”
Carus’ brassy performance of the song at the American Music Hall in Chicago on April 18, 1911, proved to be well-received, and she toured other metropolises such as Detroit and New York City with acclaimed performances that featured the catchy song. The song as comically recorded by American singing duo Arthur Collins and Byron G. Harlan became the number one hit of 1911.
Nearly two decades later, jazz singer Bessie Smith recorded a 1927 cover, which became one of the hit songs of that year. The song’s popularity re-surged in the 1930s with the release of a 1934 close harmony cover by the Boswell Sisters, and a 1938 musical film of the same name starring Tyrone Power and Alice Faye. The song was covered by a variety of artists such as Al Jolson, Billy Murray, Louis Armstrong, Bing Crosby, and others. Within fifty years of its release, the song had at least a dozen hit covers.
Etta James – Stormy Weather
From the album is At Last.
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| Artist or Composer / Score name | Cover | List of Contents |
|---|---|---|
| Bach J.S. Fifield Transcription Cantata BWV 147 Jesu, Joy of Man’s Desiring piano solo |
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| Bach J.S. J.S.- Das Wohltemperierte Klavier I (Urtext) |
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| Bach J.S. My First Book of Bach favorite pieces in easy piano arrangements by D. Dutkanicz |
 | Bach J.S. My First Book of Bach favorite pieces in easy piano arrangements by D. Dutkanicz |
| Bach J.S. Parodi Siciliano from BWV 1031 Piano solo transcription |
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| Bach J.S. Ricercar 6 BWV 1079 from “The Musical Offering | ||
| Bach J.S. Siciliano from BWV 1031 Piano solo transcription by Eugen D’Albert |
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| BACH J.S. The Art Of Fugue Bach Fugues For Keyboard, 1715 1750 by Joseph Kerman |
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| BACH J.S. The little music book of Anna Magdalena (20 easy pieces) |
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| Bach J.S. Toccata & Fugue Dminor for Piano |
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| Bach J.S. Two Transcriptions Of St. Matthew Passion For Piano Solo |
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| Bach J.S. Two-Voice Inventions |
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| Bach J.S.-Busoni Prelude in C minor BWV 999 | ||
| Bach J.S.-Lipatti – Two Transcriptions of Bach J.S.’s Cantatas 208 | Bach-Lipatti – Two Transcriptions of Bach’s Cantatas 208 | |
| Bach J.S.-Petri – Cantata 208 “Sheep May Safely Graze” Piano solo arr. | Bach-Petri – Cantata 208 Sheep May Safely Graze | |
| Bach Liszt Prelude & Fugue In A Minor, Bwv 543 |
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| Bach Mary Howe Cantata BWV 208 Schafe Können Sicher Weiden Arr. For Piano Four Hands Sheep May Safely Graze | Bach Mary Howe Cantata BWV 208 Schafe Können Sicher Weiden Arr. For Piano Four Hands By Mary Howe Sheep May Safely Graze | |
| Bach Mary Howe Cantata BWV 208 Schafe Können Sicher Weiden Arr. For Piano Solo Sheep May Safely Graze | Bach Mary Howe Cantata BWV 208 Schafe Können Sicher Weiden Arr. For Piano Solo Sheep May Safely Graze | |
| Bach Mary Howe Cantata BWV 208 Schafe Können Sicher Weiden Arr. For Two Pianos Sheep May Safely Graze | Bach Mary Howe Cantata BWV 208 Schafe Können Sicher Weiden Arr. For Two Pianos By Mary Howe Sheep May Safely Graze | |
| BACH Master Musicians Series by Malcom Boyd (eBook) Biography |
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| Bach Prelude Iv Bwv 849 Wtc I (Musescore File).mscz | ||
| Bach Schafe Können Sicher Weiden Clavier Piano And Violin Arr. By Ilia Lushpa |
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| Bach The Goldberg Variations Cambridge Music Handbooks (Book) by Peter Williams |
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| Bach The New Bach Reader A Life Of Johann Sebastian Bach In Letters And Documents (Arthur Mendel Hans T. David Christoph Wolff) Book |
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| Bach Toccata And Fugue In D Minor (Piano Solo) (Musescore File).mscz | ||
| Bach Toccata and Fugue in D Minor BWV 565 (Piano solo arr.) |
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| Bach Toccata And Fugue In D Minor Bwv 565 (Piano Solo Arr.) (Musescore File).mscz | ||
| Bach Two Part Inventions (No. 1 Bwv 772) (Musescore File).mscz | ||
| Bach-Busoni – Chaconne D minor arr. for Guitar |
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| Bach-Busoni Ich Ruf’ Zu Dir Herr Bwv 639 Piano Solo Arr. (Musescore File).mscz | ||
| Bach-Gouin – Harpsichord Concerto in F Minor (Arioso) BWV1056 piano |
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| Bach-Rummel Ertodt-Uns BWV22 |
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| Bach-Siloti – Praeludium In B Minor BWV 855a | Bach-Siloti – Praeludium In B Minor Bwv 855a | |
| Bach-Siloti – Praeludium In B Minor Bwv 855a (Musescore File).mscz | ||
| Bach-Stradal Trio Sonata No 4 in E minor BWV 528 |
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| Bach, Johann Sebastian – Complete Lute Music (transcribed for Guitar) |
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| Bach, J. S. Keyboard Music |
 | Bach, J. S. Keyboard Music |
| Bach, J. S. Concert In D Minor Bwv 1043 For Two Violins And Piano Musescore File.mscz | ||
| Bach, J.S. Jesus Bleibet Meine Freude Easy Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | Bach, J.S. – – Jesu Bleibet Meine Freude Guitar arr. | |
| Bach, J.S. Jesus Bleibet Meine Freude Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | Bach, J.S. Jesus Bleibet Meine Freude Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | |
| Bach, J.S. Orchestral Suite No. 1 In C Major Bwv 1066 Passepied (Easy Piano Solo) |
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| Bach, J.S. All Jazzed Up 12 favorites reimagined with a jazz flair Intermediate Piano Solo |
 | Bach, J.S. All Jazzed Up 12 favorites reimagined with a jazz flair Intermediate Piano Solo |
| Bach, J.S. Arioso For Piano Solo BWV 156 |
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| Bach, J.S. For Electric Guitar [Guitar SongBook] |
 | Bach, J.S. For Electric Guitar |
| Bach, J.S. Myra Hess Chorale from Cantata 147 Jesu Joy Of Man’s desiring Hess Myra piano solo Arrangement |
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| Bach, J.S. – Jesus bleibet meine Freude Guitar arr. Jesu, Joy of Man’s Desiring Cantata Nr. 147.mscz | ||
| Bach, J.S. – Jesus_bleibet_meine_Freude_Cantata_Bwv147_10_Choral SATB with Piano by Johann_Sebastian_Bach.mscz | ||
| Bach, J.S. – Toccata and Fugue in D Minor (Piano Solo) |
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| Bach, J.S. Arioso (from Cantata 156) Easy Piano Solo | Bach, J.S. Arioso (from Cantata 156) Easy Piano Solo | |
| Bach, J.S. Arioso (Guitar) from Cantata BWV 156 Guitar arr. by Per Orlov Kindgren |
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| Bach, J.S. Awake, tu us the Voice is calling – Wachet Auf, ruft uns die Stimme Piano solo arr. (Borwick) |
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| Bach, J.S. Bach N Roll (Piano Solo) |
 | Bach, J.S. Bach N Roll (Piano Solo) |
| Bach, J.S. Best Of Bach 30 Famous Pieces For Piano |
 | Bach, J.S. Best Of Bach 30 Famous Pieces For Piano |
| Bach, J.S. Chorale from Cantata 147 Jesu Joy Of Man’s desiring Easy piano solo Arr. |
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| Bach, J.S. Dinu Lipatti Pastorale in F ( Piano solo transcription) |
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| Bach, J.S. Famous Pieces 10 Arrangements For Piano |
 | Bach, J.S. Famous Pieces 10 Arrangements For Piano |
| Bach, J.S. First Lessons In Bach, J.S. 28 Pieces |
 | Bach, J.S. First Lessons In Bach, J.S. 28 Pieces |
| Bach, J.S. For Guitar 27 Transcriptions For Guitar |
 | Bach, J.S. For Guitar 27 Transcriptions For Guitar |
| Bach, J.S. For Guitar Guitar Solo arr. Leon Block |
 | Bach, J.S. For Guitar Guitar Solo arr. Leon Block |
| Bach, J.S. For Saxophone 3 Partitas BWV 1002 BWV 1004 BWV 1006 |
 | Bach, J.S. For Saxophone 3 Partitas BWV 1002 BWV 1004 BWV 1006 |
| Bach, J.S. Goldberg Variations Aria Guitar solo arr | Bach, J.S. Goldberg Variations Aria Guitar solo arr | |
| Bach, J.S. Goldberg Variations Variationen BWV 988 (Henle Urtext Edition) Ornamentations explained |
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| Bach, J.S. Inventions For Piano |
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| Bach, J.S. Johann Sebastian Bach, J.S. Nineteen Little Preludes Performance Editions |
 | Bach, J.S. Johann Sebastian Bach, J.S. Nineteen Little Preludes With Online Audio Of Performances Schirmer Performance Editions |
| Bach, J.S. Kempff – Siciliano BWV 1031 Piano solo transc. W. Kempff | Bach, J.S. Kempff – Siciliano BWV 1031 Piano solo transc. W. Kempff | |
| Bach, J.S. Little Preludes For Piano |
 | Bach, J.S. Little Preludes For Piano |
| Bach, J.S. The Anna Magdalena Bach Book of 1725 (Richard Jones) ABRSM |
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| Bach, J.S. The Creative Development of Johann Sebastian Bach Volume I (1695-1717) |
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| Bach, J.S. The Creative Development of Johann Sebastian Bach, Vol II, 1717-1750 |
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| Bach, J.S. The Keyboard Music Of Bach J.S. by David Schulenberg (eBook) |
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| Bach, J.S. The Well Tempered Clavier Books I And II Complete |
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| Bach, Johann Sebastian (bio book LUX-Lesebogen) (Deutsch-German) Biography |
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| Bach’s Most Beautiful Melodies Easy Piano |
 | Bach’s Most Beautiful Melodies Easy Piano |
| Bach’s Well-tempered Clavier The 48 Preludes and Fugues (Book ) David Ledbetter |
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| Bachianas Brasileiras No. 5 (Heitor Villa-Lobos) | ||
| Bachianas Brasileiras No. 5 (Heitor Villa-Lobos) 2 pianos | ||
| Back To The Future Music from the Motion Picture Soundtrack Piano Vocal guitar |
 | Back To The Future |
| Backstreet Boys – All I Have To Give | ||
| Backstreet Boys – Drowning | ||
| Backstreet Boys – How Did I Fall In Love With You | ||
| Backstreet Boys – I Need You Tonight | ||
| Backstreet Boys – Incomplete | ||
| Backstreet Boys – Quit Playing Games With My Heart | ||
| Backstreet Boys – Show Me The Meaning Of Being Lonely | ||
| Backstreet Boys As Long As You Love Me |
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| Backstreet Boys Backstreets Back |
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| Backstreet Boys Black Blue |
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| Backstreet Boys Drowning |
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| Backstreet Boys Everybody |
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| Backstreet Boys I Want It That Way |
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| Backstreet Boys Shape Of My Heart |
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| Baden Powell Manha De Carnaval Guitar Tablature Tabs |
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| Baden Powell – So Por Amor (Guitar arr. sheet music with TABs) | Baden Powell – So Por Amor (Guitar arr. sheet music with TABs) | |
| Baden Powell – Samba Do Aviao (Jobim) Guitar arr |
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| Baden Powell – Samba Em Preludio Guitar TAB |
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| Baden Powell – Serenata Do Adeus Guitar TABs |
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| Baden Powell Complete Brazil On Guitar transcriptions with Tablature |
 | Baden Powell complete sheet music |
| Baden Powell Contemporary solo guitar (Book In Japanese) |
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| Baden Powell Prelude In A Minor (guitar) |
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| Baden Powell Retrato Brasileiro Choro Lento (Guitar) |
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| Baden Powell Songbook – Volume 1 (Guitar) |
 | Baden Powell 1 |
| Baden Powell Songbook – Volume 2 (Guitar) |
 | Baden Powell 2 |
| Baden Powell Songbook Volume 3 (Guitar) |
 | Baden Powell songbook 3 |
| Badfinger – No Matter What |
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| Baghdarsaryan, Eduard 24 Preludes For Piano |
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| Baghdasaryan, Eduard Nocturne for Violin and Piano | Baghdasaryan, Eduard Nocturne for Violin and Piano-1 | |
| Baker’s Biographical Dictionary Of Popular Musicians 1990 Complete Vol 1 A L and Vol 2 M Z |
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| Balada Para Alessandro (Raul Di Blasio) | ||
| Balázs Havasidom Freedom Piano Solo Sheet Music |
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| Ballad No Name (William Joseph) | ||
| Ballade No. 1 In G Minor (Musescore File).mscz | ||
| Ballads Big Book Of Ballads 2nd Edition Piano Vocal Guitar |
 | Ballads Big Book Of Ballads 2nd Edition Piano Vocal Guitar |
| Ballads For Classical Guitar |
 | Ballads For Classical Guitar |
| Ballads Really easy piano (24 great songs) |
 | Ballads Really easy piano (24 great songs) |
| Ballads The Big Book Of Ballads 3rd Edition |
 | Ballads The Big Book Of Ballads 3rd Edition |
| Ballads The Big Book Of Ballads 3rd Edition Piano Vocal Guitar |
 | Ballads The Big Book Of Ballads 3rd Edition Piano Vocal Guitar |
| Bambina (Lara Fabian) | ||
| Banana Boat Day-O – Guitarr Arr. With Tabs (Traditional Jamaican Folk Song (Sheet Music) |
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| Banana Boat Day-O – Guitarr Arr. With Tabs (Traditional Jamaican Folk Song (Sheet Music)) (Musescore File).mscz | ||
| Banana phone (Raffi) | ||
| Bangles – Eternal Flame | ||
| Bar Piano Susi’s – Band 1 – Swing Evergreens and Pop Classics by Susi Weiss |
 | Bar Piano Susi’s – Band 1 – Swing Evergreens and Pop Classics by Susi Weiss |
| Bar Piano Susi’s – Band 2 – Swing Evergreens and Pop Classics by Susi Weiss |
 | Bar Piano Susi’s – Band 2 – Swing Evergreens and Pop Classics by Susi Weiss |
| Bar Piano Susi’s – Band 3 – Swing Evergreens and Pop Classics by Susi Weiss |
 | Bar Piano Susi’s – Band 3 – Swing Evergreens and Pop Classics by Susi Weiss |
| Bar Piano Susi’s – Band 4 – Swing Evergreens and Pop Classics by Susi Weiss |
 | Bar Piano Susi’s – Band 4 – Swing Evergreens and Pop Classics by Susi Weiss |
| Bar Piano Susi’s Merry Christmas by Susi Weiss |
 | Bar Piano Susi’s Merry Christmas by Susi Weiss |
| Bar Piano, Susi’s – Band 5 – Swing, Evergreens and Pop Classics by Susi Weiss |
 | Bar Piano, Susi’s – Band 5 – Swing, Evergreens and Pop Classics |
| Barbara Livre D’or 18 Chansons Partition Musicale |
 | Barbara Livre D’or 18 Chansons Partition Musicale |
| Barbara Arens Moonbeams |
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| Barbara Pravi Voilà (Piano and violin) | Barbara Pravi Voilà (Piano and violin) | |
| Barbara Pravi Voilà Easy Piano Solo (2021) | Barbara Pravi Voilà Easy Piano Solo (2021) | |
| Barber – Agnus Dei Op. 11 (full score transcribed for mixed Chorus with Organ or Piano Accompaniment) |
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| Barber – Samuel Barber The Composer And His Music (1992) by Barbara B. Heyman (Biography) |
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| Barber Samuel 3 Songs for voice and piano |
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| Barber Samuel Barber 65 Songs Piano and High Voice Edition |
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| Barber Violin Concerto (Violin and Piano sheet music) |
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| Barber Violin Concerto (Violin part sheet music) |
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| Barber_Violin_Concerto.mscz.mscz | ||
| Barber, Samuel Cello Concerto (Cello Part) |
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| Barber, Samuel Sonata For Piano, Op.26 |
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| Barber, Samuel – Sure On This Shining Night for Piano and SATB |
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| Barber, Samuel – Adagio for Strings Op. 11 Agnus Dei (solo piano arr.) |
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| Barber, Samuel – Four Songs – Nocturne |
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| Barber, Samuel – Four Songs – A Nun takes the Veil |
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| Barber, Samuel – Four Songs The Secrets of the Old |
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| Barber, Samuel – Summer Music |
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| Barber, Samuel Adagio for Strings full score | Samuel Barber-Adagio for Strings full score | |
| Barber, Samuel Adagio For Strings Samuel Barber (Musescore File).mscz | ||
| Barber, Samuel Agnus Dei Adagio for strings op. 11 for mixed chorus |
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| Barber, Samuel Nocturne Op. 33 |
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| Barber, Samuel Op 26 Piano Sonata |
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