David Baker (0 say that David Baker is the country’s pre includes many prominent jazz groups, as wellas university and major symonony orchestras, He has taught for over twenty years, including public school, collage and private teaching, and he has been on the Music Faculty of Indiana University since 1966, His compositions number inthe hundreds and run the gamut trom jazz combo to symphonic works of major pro Dortion. His music and books on jazz and insleumenta Pedagogy, jazz improvisation and solo trans Black music and musicians nave been publi beat, Studic/PR, Associates Music Publishers, Prentice Hall, Creative Jazz Composers ang many others, His Fecent publications, The David Baker Jazz Monograph Series with Charles Hansen, are detitive sts analyses ol some of iptions, and bydown azz giants of ur times. .A Ca et A A AAA GHIARSICIIE IPARARTELS Alle Saxophone CONTENTS Foreword Relationship Of Chords To Seales Transcribing Solos From Records 2 3 5 7 Biographical Sketen 2 Charlie Parker The Innovator (0. Periodization 1 Characteristics Of Bebop 13 Ge logy Chart 14° Charlie Parker — A Musical Portrait 17 Origmat Compositions 18 Selected Bibliography 20. Selected Discography 20 Atist OF Available Transcribed Solos 24 Transcribed Solos With Analysis ‘and Model Analysis Sheet 27 OurotNownere 34 Now's The Time 40 Hot House 51. Perdido 58 The Language OF Charlie Parkor 59 V7 Patterns 65. Melodic PatternsForeword In recent years with proliferation of wanseribed solos and the growing awareness ol their value as teaching tools it has become spperent {0 many jazz educators that simply memorizing a sola and playing tis not ‘maximizing the potential of the technique a8 a learning experience. By the inclusion of in depth analysis, selectea ciscography and bibiography, Diographical data, a ist of innovations, a genealogy, ete., as wall as acival transcriptions of important solos, hese monographs represent ar attempt to place the study of recorded solos in a more meaningtul context. In many respects the jazz improvisor is @ composer and es such ‘might prot rom being exposed to the same regimen and gisciplires as a composer per se. One such discipline has ta Go with learning to write or Diay by imitating various models, Virually every composer has gone through the stage of wring pieces in the style of Bach, Bartok Stravinsky, Ellington ang oiners. In imitating a particular compcser the neophyte must learn and assimiate the harmonic, melodie, and mythic language of that composer. He must be able to project ina reasonably ‘accurate fashion what that composer will do, given a particule” set of musical options. This type of learning experience becomes doubly important when the composer unger sevutiny Is ane ofthe giants who in fone area or anne is responsible for (ranstorming the aestne te. For instance, in any gwven period a hanalu of imovatos is responeile for inlroducing new concepts into the music of simpy reinterpreting oF reshaping the extant language consistent with imperatives o! thet ime seems to this writer thatthe |2zz player might profitably adapt an approach similar 10 that of the budding composer in learning his eral With that end in mind his set of monographs has been designed to pro vide a modus operandi or studying, analyzing, imitating and assimilating the idiosyncratic and goneral facets of the sly of various jaz: giants throughout the history of he muse Altnough @ model styles and analysis work sheet Is provided tne reader may want to mocily i design anther one which fits his or her specitic needs. In any event the aspiring azz player is encouraged to ‘compietely cissect ihe improvisations, as well as the tunes on which they are based. (Thia io absolutely mancatory inthe case vl Uebup lures whose palteins. med lines and harmonic stroclures comarse a substantial portion of the vocabulary of every contemporary jazzDominant 71h (49) 1355769 Dominant 71049. 3357 #9 Dominant 7thb9 and Dominant 71h bs and b9 Dominant 7tn bang ba 1365 b7 bo #5. and 49135 bv #9 5 and £9 1355 W 45 arc 991345 57 bo (and/combination) Halt. (aiteiminished 7th on minor 72 (65), sbabsbr iminishea 7h 1p3h5e Diminisheo 1beb3 43g45eb7 6 Diminished 1b2 ba ka #4 557 6 shobabate ts 968 izbsassbre Blues 143 494 #45 b7 8 minor pentatonic 1 6345 b7 8 iminished 1 b2 b3 83 56 b7 8 Aiminisned wince tone Te2bses pags g68 minor pentatonic 1b34 5 br & Blues 1 p3k3 4845 b7 8 vhobs 83445667 diminighecwnole tone 2s 23 86 #5468 minor pentatonic 143.45 b7 8 Blues 16323 4845 578 diminished scale bobs ta#4 sehr 6 y345 578 Blues Tbs asa Red bre inished chords Loctian 1 b2b3 445 b6 b7 8 Loctian #2—1263.4b5b67 8 diminishes (start with whole step} 2b3 #4 blues 153834 diminished chords iminished scale (start withwnole step) i2bsagees679Relationship Of Chords To Scales Major Family ‘chore Type) Seale Form Major—13579 Major 12345678 Major (ba) 13579 $11 Major (#245) 134579 411 Major(96#9)1357 911 13, Lydian 123445678 Lydian Augmented 234445678 ‘Augmented #235671 Major! 9579 diminishes 162 43434456 578 Major! 3579 Harmonic Major123.45 4678 Major1 3579 blues 15343 «#45678 Major13579 ‘minor pentatonic 163.45 678 Major13579 Major pentatonic 123568 minor Family ‘minor, toric) Function sniner 71 () Function Dorian 243456970 Natural minor 123.4 856 67 & Phrygian 1 b2 bs 4567 8 ‘Ascending Melodie minor 126345678 Harmonic minor 1249 455678 ‘minor pentatonic 1 345 b7 8 Blues 163 83 4445678 Dorian 1253456 479 Ascending meledic minor 124345678 Harmonic minor 1 2684 5667 minor Pentatonic 1 b3 45 7 8 Blues 1 ba3484578 iminished staet with whole step) 12b34 9695678 Dominant Family Dominant 7th unaltered 735670 Dominant 7th #31 135 b79814 Dominant 7th 65, #5 or both 196567 19457 1 35H) OT Mocolygian 1234567 8 Lyin Dominant 236458578 Major Pemtatonic 1 23568 minor Pentatonic 1 63 45 7 8 Blues 1 ba gates bre Lydian dominant 1238456578 Whole Tone 1 2994 95 #6 esTranscribing Solos From Records ‘One ofthe undersirable consequences resulting froma surlitof teaching ‘methods, improvisation books, and other educational aids has been the virtual eisappearance of the player who accelerates learning by playing ‘lang with records Ht is lamentable that we teachers, authors, educators, and Performers trom the period 8.J.M.B. (before jazz method books) have forgotten that we learned our crt by paying along with and studying Ihe soles of our jazz heroes. While no rational educator would advocate a return to those times when recordings were the principal means ol leaning. it behooves us {9 feexamine the very important role that ecard transcriptions can and "must pay inthe development and continued growth of aze players, For the young jaz player, istening to, analyzing, and playing along with recor isan absolute must ihe isto learn the language, ils syntax {grammar itiections, ete. The situation for the young playet ia ot unis that ofa student learning to speak a foreign language. Whie books, fash ‘cards and other visual aids are invaluable, they can never supplant heat ing and imitating the spaken word. Even out naive language ts learned best through imitation of those around us: father. mother, brother sisler, nurse, etc. A child growing up in a French-speaking envitanment does net, a @ consequence, speak German; he speaks French Unioes the buding jazz player is in an aural environment where the language ot jazz is spoken (played), he will not learn that language. Subllety. correct Use of itecton, a feeling for swing, imerpretaion, style, cic, are all things that are mest ellectivey learned thvough the repeated hearing of those players who fist defined tne music For the advanced jazz player, listening, analyzing, and transcribing {are equally valuable if grows 1'be continuous. Athough the ends may be diferent and acival transcription, either written or played. may not take place, every good jaz player has a mandate to listen ina disciplined fashion to the music of his contemporaries. How else fo slay abreast ot the mya, sometimes violent, changes taking place in thie continually evolving music? ‘Sometimes new techniques, diferent approaches, new harmonic, ‘mythic, and melodic ideas are more easily grasped when repeated 'stenings possive, hence the value, again, of recore transcription, ‘The following aids to transcribing areottered 41. heck turntable for key (pitch). Use common sense or some ther referential, such as a tune on the album where the Key is known, ‘Adis speed of tuintable toa desired pitch2. Record solo on 7% ips on tape (two levels beneath). Try 10 ‘ecord from at least one chorus betore (safety with changes, tempo, fe, ete.) 3. Listen to entre solo for a. length (numberof choruses) . general shape, esl, frm, etc. ©. changes 4, IHfaster than moderate tempo, make intial transcription at hal seed, 9% ips '. If possible, transcribe one measure of phrase at a time. Listen, sing, write b. Play preceding phiase, then new phrase as before, Ia rythm or piteh is troublesome, ty 10 solve il through repeated stoning and isolation. If necessary, slow 10 174 ips and stop an ine note cor myth group Ia couble time persist, ranseribeit as thoughin4/4 tine, Le 1M NIN 2 INAS In tnisneo tore, It apiece is particulary complex thythmicaly, you might bar otf the entire Solo, transcribe the fist beatin each measure, then beat 3 a filing in missing notes. Sometimes, educated guesses might te made based on melodic of mylnmie practices au courante. Acertain degree of Precictabilly usualy exists tothe attuned ea 5. Once the solo is compote, vriy at hall speed by playing along fon your insitument. Add inflections, dynamics, accents, slurs, et2 6, Play at the actual tempo for missed notes, ete. Verily at the actual tempo, meCHARLES CHRISTOPHER PARKER, Jr. | Biographical Sketch 1920 August 28, born in Kansas Ciy, Kansas to Charles and Addie Parker 1927 Family moves toKansas Cty, Missour 1931. Graduates from Crispus Attucks Public Schoo! 1992.99. Receives his first Saxophone and begins study at Lincoln High Schoo! soins Over Todo's Horn Tol Orchestra ia Kansas City soins Deans of Swing with Laurence (88) Keys as leader 1994 Plays regulaly with the Deans of Swing 1936 Maries Rebecca Ruttin, soins the George Lee Band Escapes serious injury in roag accident thal claims the lite of George Wikerson, bassist withthe Deans of Swing, 1997. Joins Jay MeShann's Group 1828 Joins Harlan Leonard's Band 1939 Meets Dizzy Gillespie at Booker T Hotel in Kansas City, Goes New York and washes dises at Jimmy's Chieken Shack, 1840. Rejoins Jay MeShann, First recording or Dera Records with MeShann. 1941. Jam session at Minion’s in Harlem with Dizzy Gillespie, Kenny Clark, Thelonious Monk, Charlie Christian, Bud Powel, Mak Roach ang John Simmons Second recorsing date with MeShann 1942 Joins Noble Sisse's band on Mic- West tour hh soins Andy Kirk's Band and then joins the Earl Hines Gand, I 1943. Marries Geraldine Scott and joins Si Charias Thompson Feturns brelly to Kansas City 1944 Makes frst combo recorcing with Tiny Grimes, soins the Bily Eckstine 6'g Gand and records for the Deluxe label with ne band, 1945 Works 52nd Street clubs and begins association with Miles Davis |1946. Pays at Billy Berg's Jazz lub in California with Dizzy Gilespie 1947 Sutters a breakdown ane ends up in Camatiio State Hospital (Famous Lover Man session) Returns to New York City work the Three Oueces Club 1948. Signs with Norman Granz and Verve. Marries Doris Syenor 1949. Opening of Biraland Club in New York City in honor of “Bid 1950 Recotds with String Group Tours Europe Plays in fim ol JATP made by Noman Granz 1951 Tours as solist with Woody Herman Orchestra (See newly released album) Daughter, Pree isbn 1952 Son, Bardis born 1853. Appointed to teaching staf at Harnett Studios, New YorkCity First musical association with Citford Brown 1954 Twice admitted o Bellevue Hospital (September 1: Segtember 28) for psychiatric ieatment. Atempis suicide Town Hall Concer. 1955 Works at Bee Hive in Chicago. Tours. as. single using local thythm sections. March 4 5, last public appearance with Kenny Durham, Bud Powell, Chatie Mingus and Art Blakey at Birdland in New York Gay March ath — to the home of Baroness Pannonca de Koarigsworter en route te Boston Maren 12, ois, March 21, Funeral at Abyssinian Bapt Church,a ie Charlie Parker — The Innovator Charlie Parker, tke Lovis Armstrong and Lester Young betore him, had a pervasive influence on all music. His iniuence extends into all stews of Jazz and ail media of jazz expression, including composition. Ii nO Surprise to the jazz intoligantsia that Parker's influence has oot beer limite to jazz music. Vitualy avery commercial, jingle, TV Background and much contemporary European derived art music. owes, some demonstrable debt to Charlie Parker. Charles Mingus has said. it Charlie Parker were alive ne woule think he was ina house of micors His innovations manifest themselves in vitally every aspect of ‘music. He, along with Dizzy Gillespie, Thelonius Monk, and & handl of ‘others, helpedtobroaden the harmonic pale via 1. The use of higher intervals in chords (see example 1) ms enon 2, Theuseot passing chords (see example 2). 4. Use of more sophisticated seales (wider range o! scalar options) {example 4, ine a a 2 ee 5. A more extensive use of linking devices such as tuinbacks (usually a two measure progression consisting of four chords \sed 10 creale movement, Nelp detine the form of the com Position, and link one chorus to another), cycles (a root move. ment ol ascending perlect fourths or descending perfec! fie), kV formulae (the progression ofa minor seventh chord resoiving up a fourth or down a itin io dominant seventh chard) and Olney ‘musical achesives (example 8) 6. Greater expressive use of dissonance. He was instrumental in broadening the emotional expressive pallet, He elfected changes by adapting for instumentaisis techniques long ‘assumed 10 be exclusively within the province ol Blues vocalsis. 1 € Grunts, shouts, slides, slurs. ips, bends, varied vibrato, growls, shakes,10 He also mage use of a much wider vaiay of tonal possibilities and a greater Use of contrasting elements and efforts (¢.¢, ast v8, slow, loud Vs. soll, harsh vs. elegant, high vs. low, cofsanant vs, dissonant, stale vs. mati). Like Louie Armetiong in an earlier era, he tusther expanded technical options. He was perhaps the fist real virtuoso of je22. By presenting an alternative to existing practices, he showed that It was ossvle to assimiate complex techniques into improvisations without Ssaciiicing expressiveness. He helped fo prove that a greater technical ana paysical range can cesult in a broader range of emotion and eeing. tn the area. of rhythm, Parker was partially responsisle for establishing the eighth note as the basic time unit of the jazz 5910, He employed afar greater variety of rhythms than any sclost who preceded him. He further extended the cpsions through the use of poiyhythme establishing a basie conflict between solost and rhythm section, anc the realization of ines of great rhythmic subtlety More than any jazz soloist betore nim he showed the possiblities of combining long-range, unifying techniques with a maximum of ex pression. He showed that, by mixing melody, harmony. rhythm and tone as inseparable components, a ‘eal syle Could emerge. Uke Armetiong land Young, he perceived of scund as an exlension of the idea 10 be expressed: Charles Christopher Parker, Jr. PERIOD BREAKDOWN, 1940. 1943 Most of the early recordings were wih the Jay MeShann Band in 1840-1842. Thay include such composition as Lady Be Good, Ive Found A New Baby, Honeysuckle Rose, Moten Swing, Sepia Bounce, Hootie Blues and The Jumpin’ Blues. ‘Characteristic of hese early recordings is (1). Atainy fast vibrato, (2). Motives borrowed trom his idol Lester Young (many verbatim ‘quotes. (2). Quotes trom older melodies (4), Predictable and worked out solos planned wellin advance. 1944-1955 Many recordings but Blues, and I Got Rhythm, predominate. T Used keys are B,C, F, and ED Major Once his style was establisheg it underwent no substantial changes. His solos were relatively unilivenced by is musical environmen BEBOP In.as much as Bebop Is considered the language ofthe common practice period of contemporary jazz, and Charlie Parker and Dizzy Gillespie are Considered the chiet architects of the music, aermaps we should first examine the characteristics of Bebop if we are iounderstand the music of Charles Ghrstopner ParkerCharacteristics of Bebop 1945- 1960 1. Collective improvisation exclusively between the soloist and the ‘hythen section, 2, Chords serve as the improvisational relerentil rather than melody 3. Generally noniaiosyncratic improvisation (e.g., trombone, tip ee) 4. Instrumental tines with longer melodie phrases using ode phrases. 5. Emphasis on clean piano tke execution. Players folowed a tend foward vibraioless sound (reducing the latitude and llexibilty of 's0uNd production is anther Western concepi,) As 2, practcel Consideration, vinuosity demands an unencumbeled sound, ‘the ‘emphasis was more on content than sound. 6. Asymmetrical sole constuction 7. Very wide dynamic range 8. Hotimprovisation(fas, intense, impassioned) 8. Polythythm became an important factor again. Duplication dispensed with; each instiument assigned a basic and essential. tusetion 10, Rhythm section Piano String Bass Drums (complete) (Sometimes Guitar) 11, Piano — no longer imitates an orchestra, no stride piano, chords become sparse and the insvtument is used. in a much more Percussive manner. The “comping” is fragmented and jagged. High Incidence o! substitution and altereg chords, (Scales dish! aivane line up to ihe same degree of specicily a3 now). Often sttke ‘melodic comping, rootless voicings String Bass — more tuid ines; repeated note lines ate gradually ‘lspensed with and the lines become melodie and diatonic through the use of leading tones and scales. Time keeping ole hills to Ne Bass. Legato lines, through the usa of longer less thumpy roles toward more tord and imaginaive tines via Grops, accents, ote Becomes important solainsttument Drums — The rhythmic ostinato shits trom the bass drum tothe ride jymbal, prosucing a much more legato sound. Bass srum sions bombs; plays accents, commenis on the lime. Accompuniinen! ‘becomes fragmented, Poly-hythms are rintioduced inl the music, Greater independence between components of the "se!" crisp Snare drum figures enhancing, ealoring, shaping, answering ord articulating othe line Guitar — “comping” ala plano, harmony, melody, solo a2 1. 4 16. 16. 1”. Ahythm unit — Harmon unit— ve J J Morodcunt— J» FFFQ Melody — based on odd intervals, scalar rather than chordal (head statements were generally unison because the increasing harmonic Complexiies made counterpoint and secondary lines less feasible) Strictly instrumental in conception, more effort ta make sob lines ‘cohesive by inking hem together with tuinbacks, eycles Harmony — 9, 11, 13th chotds, chromatic harmony, frequent medulations, @ broadened concept of chora substitution came into being, providing a broader harmonic base Harmony gained equal footing with melody and rhythm (Wester intvence) Complex chotds provided the soloist with a broader harmonic base, cBnaequently making possible 2 greater varaly of note choices and ‘higher incidence af ehramaticrm, ‘The music moved ever closer to European music because ofits fermphasis on harmony and instrumental facility and the increasing use of other Wester European devices. N-V7, cycles and other formula Seales — Major, dorian, mixolyaian, blues, pentatonic, whos tone iminished, lyaian dominant, diminished whole tone AllKeys wtrumental ranges Trumpet — G to double c Trombone — 3% tod octaves ‘Saxes — whole family ang entire range Dizzy and Bird — Technique continues to expand. A sound instrumental technique was mandatory Tune sources — bives, ( Gor Anyinm, feworRea stanaaras, some orginal, Cliches — the “break” quotes (interpolations), few backgrounds, some bret introductions and endings and some unison inerludes Primariy a smal band music.13 Charlie Parker — Genealogy Lester YouNG. (Tenor Sax), IRMES MOODY PHILWOODS (Alto) ‘SONNY CRISS (ar CANNONBALL ADDERLEY, LOU DONALDSON, JACKIE MCLEAN (Ato) CHARLIE PARKER G.G. GAYCE (to) CHARLES McPHERSON. IMM HEATH (Tene CHARLIE MARIANO JONNY HODGES DEXTER GORDON (Tene LANNY MORGAN (ait) vale) WARDELL GREY ORNETTE COLEMAN (ait) BENNY CARTER ERIC DOLPHY (Ato) ist since the bebop 40'S and 50's was 50CHARLIE PARKER Tune Type Preferences Blues {Got Anyihm Standards, particularly: Whats This Ting Called Love and How High ne Moon “he reader should reter to Tom Owens’ excelent thesis. Chace Parker Testmiques of mprovsation, fora complete pltute of Parkers preferences, (See Biography) “Tempo — Parker's records show a wide variety of tempo choles trom ‘ow balags and blues such as as Embraceabe You (") = ca. €D) and armors Mood (ca, 65) 10 rate tempood version of Ko-KO ce. 355) and. “Cansieavon ( = ca. 315) wih tha bulk of his improvisations vesting somewhee comfortably in the miodia 1 fo category “he basi tythmic unt of Chae Parker and his contemporaries (Oiezy, JJ. Bud Powel, otal) i the eight note. Faster notes occur primarily is double ime passages and longer notes prenaly as begin ng Or ends of phrases, Vitualy every Parker solo i in 4/4 te in keeping withthe metic practices ofthe time, Parker's playing was essential ratratve ot the Brevalent time with the usual bebop pivasing of eighh notes, 6 TIDLITIL. - However, 28 with virtually every other siie 2 jazz and ar musi, the faster the tempo the more even the eighth notes ‘ecome. Ae one would expec, there are few ofthe assymetrca group. ings endemic tothe playing ol ‘ater saxoghonsis, such as John Calrane Prrasing and aiculson's ofcourse, more varies slow pieces Rhythmic Patterns ‘The yttre atten, other han totes, most frequent sedate (1 J + d71 in compositions sucn as Moose the Mooch, Biles Bounce, fiain’ At Camano. Av Prvave, Borgo Bap, Dein On A Feed, Perhaps and itualy any improvisation). (2) 5 BETTA (Bongo Bop, Au Prvave, An Oscar For Teadwed) (14 +) 50] d emops, av Prvave, Btoomaico) (dy dds ad] J (Ornithology, visa, On-Cm, Serapple From The ont). ®,mnmmn Dramatic Devices Parker's vibrato was Slow and narrow and quite even. His tone an the ‘gamut from lush (albums with Strings) 10 harsh and edgy. One of Parker's Strengths was his ably to adapt his tone lo the expressive needs of ihe ‘musical sition. His use of such varied dramatic effects as sus, ‘rons, is, tal ols, and gissandi was widespread ang gave Ns playing the pervasive blues qualy of the Kangas City blues shouters, such as simeny Rushing| His use of aternate fingerings as an expressive device is much more limited than that of ris idol, Lesier Young, Hacmonics are used very farely, particularly when contrasted withthe next generation gant. John Coltrane. Parker consistently, and with greal ease, employed the entire ‘Normal register ofthe saxophone. As to tessilua, as might be expected, ‘most Solos favared the middle lo upper register. Koy Proferences 8, Cand F Major. Preferences are the Major scsle and ite derivatives (dorian, ‘mixolydian, lycian and locrian), the blues scale, the lydia dominant, the the {quotes occur in concert and clvb recordings. In house seltings he was Probably more relaxed and less concerned with playing for postety Once inthe studio he tended fo avoid such a fippant attitude Towards is, material (Vim, page 30) Paikers melodies were extremely expressive, folkike and otten bluesy and rit ike Substitution Substitutions in Parker's playing usually occur an minor 7th to dominant 7th (V7) progressions. For this progression Parker would usualy subsite the same quality chords a intone or aminor 3rd away. |e | Omi? G7 = Ap mir DBT (Sigpin’ At Bois) mi? 807 (Hall Nelson) {aay Bird) (ight Ang Day) The chords are usually realizes with the appropriate major scale orivalives or the dimin'shed scale, HHe would also occasionally substitute tor a major chore the dominant Tin(#11)apertect ath above, e.. (Major 7in = FT (#11), ‘The 7th (#13) chord is usually realized with the lyaian omvnant scale, Other favor places tor substiion ave ow omy Em7 ar Dmi? G7 usually realized with patterns co Amit Dri? G7 ‘the proper chad seales, cer aD ObT Emir Eom? | Omir Domi cbr 7 oerPerformance Practi Parkers solos don't usualy follow any single lan for development, ie simple to complex o1 complex to simple. it seems, raner thal single choruses and even subsections (8's, 16's) are most often sell contained, Glimaxes are often achieved through the use of double time, increased ‘hythmie oF harmonic activity ora carnbintion ofthe three. Because o! the nature of the composiions Parker recorded he tended to be basically a vertical (change running) player. The changes ere usually realized through & combination of ciatonie and arpeggiated figures, (patterns pus scalar melodies). Bives of course usualy dictated ‘horizontal (one seale for many chords) approach ‘As with mest of his contemporaries, Parker's sols rarely used the ‘riginal thematic material. Most olton he drew primarily on his repertory (ol patterns and phrases and his Ingenious use of scales and chords 1o ‘construct his Sloe, Bird Originals ‘Anieucha t GotRyinm) (Congo Sues (ives) Moose The Mazen (yn) Ai Conastoning Constliaton My Litle Suede hase ‘noite’ Hair Da(Blues) (hyn ows The Time (Blues) ‘Au Privave tues) Honeysuckle Rose Brisge) | Oke Beck Home ves Coot Bivee Omihoiogy 8g Foot (Blues) (osm Rays (Blues) Parkers Macatee) Bills Bounce (ses) Beaten enyanmy Pass Port (Blues) rd Feathers (Alves) Deway Savare Pethaps Bes) ‘81a.Gate The Worm Bona Loe ‘Quasimedo Embracetble You) ‘Lover Cone Bock To Me) ylesccome atin indiana) | Seasmedeémbrac Biasnest verse Relaxin’ Ai Camaro ues) BiGOF Parise Dring On A Reed ues) ‘ane Things You Ae) appy Bia ues) Scrape From The apole anaes Home Cooking (Genel fos Boorse (Bes) Fronyecte Rose Buse) * Buns For Aloe vote tes Segment Buedid( ues) eee es es Sepian Bounce (@hythn) Benge Beep (Bicester) ova Shaw Nut yom) Bongo Bop (Bes) Kactoveosoastene Stee Beat (nye) Bunny (Gives) waunstence She ote Carona PheWiay You tookTenigny | Sivas) Carver The Brive} (nth) ‘Steenie Che yin Charis Wig ota (onavoree) Stupercaus('S Wonder) Cuter Grow Tooao Oreamy | {Sha Crate) ‘Tretlynn (Bue) ‘nasi The anys) Marmeduxe(tontysucke Rose) | Ty's Tempo Blues) Se Meandeing(émbracesie ou) | Thn@From ARil(ythm) Chen te) tometer isa ues). ncnieues) ‘Brynn Waring Ub A Rt (Crcke) Contmaton Honeysucie Rose Bisgey | Yard Sure = arrSelected Bibliography ‘Anonymous, : ‘Charhe Park's BeBop For Ato Sax. New York: Caron Transcipons. Aopledaum, Sian ‘Chae Parkor Orginal, Now Sounds in Modern Music, 111 W. 48th Stet, New York 96, Transcriptions. ker, avis (Charie Parker's “Now's The Time” sla. Tanseibes and Annotated by Davia Baker —(epsnted) down boar Music Hancbook 77 Bale, wna The Sound Of Surprise, New York: Dutton. ranscitans ince, Dinosaurs in he toring, New Yor: Lippe. ransenplons cluded. ate! Bia. Te ew Yor! Berend, Joachim E ‘he fiw daz2 Sock. Tarslatedby Dan Morgenstern. New York Burns, Jim "Bic Calta" Jazz Journ ‘charters, Same! 8 anc Leonara Kunst azz — A Hisiony of tno Now Yor Scone, Garden City, New York oublecay ance, Sanly, ed "at a: The Forties. London: MacGibben ana Kee Davies, Gorgon. comeer "Chale Parkes Chronclogy Discograpnical Forum sposto, si! ‘Homage fo Br" Jaze Journal Feather, teonara Inside Bo-Bop. New York: Robbins. The New Editon of ne Encyclopedia of Jaz. Now York: Bonanza, The Book of sa22 Rev ea New York: Boranca.Trancrpiens cided From Satchmo To Mies New work: Stemnana Day, Gardner Mace Bargain Sr Jaze Journal espe, Dizzy, ana Gane Lees “Tne Yours With Yard down boat, ig a “Bird And The Fortes: down best saz Masters O/T Fortes. New York: Macmiin, “bir Sn Livee down Dea. Haralson, Max rile Pek” Nat Henan Abert McCarthy, a, ze, New Yor CCharbeParkr, Now York Barnes. Heckman, Den “rd in Fight down beat. Transcritons included “Essays On dazz. London: Sidgwiek & Jackson, Jepsen, Jorgen Grunt, compiler "A Discography Of Charo Parke. Copennagen: Knudson. ones, LeRo! ‘lies Peoele: Negro Music In White America. New York: Morton. Black Mule. New Yor” Motion Koen, Lawrence 0 “Ormhaiogy: A Stuay of Chae Parker's Music (Pat One) Joural of Jaze ‘Suse Vim. 241 Auigrs iste otoaz Sces ‘Omnihoiog: A Study of Charla Parer's Music. Jourra af Jazz tutes, Vim 2 #2, "Transcriptons inciLovin, Mehae!, ancots "ine Chit Paro Inari LUohoot, wim & ‘Chale Parker: A Contemporary Fok Hero" Keystone Folkiore Quarterly (Pitsburg) Vin #2. Summer 972 pp 1-62 Meaty, Aber: Hartson Max; Morgan Aun” and liver Paul Jazz On Bocore, A Cea! Guide fo the list 90 years 1217 - 1967. New York: Oak Pubtestons, 1968. McRae, Batry TheJaz2Calscyem, New York Barnes Mole, ilteg Musicina New Found Land. New York: Knoph Miedema. Harry Jaz Siies and Anaysis: Alto Sox. down beat Musi Workshop Publication, ‘Cheago, lino Traneenations Morgenstern, Dan Gites ang Jack radey, ed {Bia Di: ABiblography. New York: New York Jaze Musuem, (Owens, Thomas ‘Charie Parker: Techniques OF Improvisation” Unpublished dlssevation UUniversiyofCaiforna at Los Angeles, 1978: Unversity Mision #75920 Parka. Chavie "ay Bost On Wax’ down boat, Pavick, ames ‘Cae Park and Harmonic Sources! Bebop Composition: Thewshis on the Repertory of New Jaz nthe 1040s" sburtal of Jae Stusien Vind " Pati, James (Charlie Parers Use OF Borrowed Materials, Ph. Princeton University Piakerton, hye (Chao Pater. New York: Lace. Tenserioions Relsner, Robert George Bird The Legend OF Chara Parker. New Yor, Cade Sop Martin. Willams, ed. The Art of Jaz. New York: Oxford ‘Chale Perwer "and Oiecy Cea tn Marin Tr NaN, Jaze Panorama, New Yok: Coler Siler antes Cy Ard The Southwest, Batley: Universo ira Lives the High Ute Ana Haro Tines Of Char (Yerbia) Parker. New ‘ork: Chaitemouee, Transengtians neluee ‘Wes! oast Bop Jaze and Blues Sehit, Ronny (Chari Parker: A Jaze Master, sles Wanseribed lor Bb and Instruments, ih Pano accompaniment. MCA, & Dwaon ot MCA, Ine New Yore ‘ranacripions Seat, Joe "Sin Chicago’ down beat iro, Frank ‘The Silent Theme Traction In Jane Musial Quarteny, lanov, Barry ‘Chara Parke: ANew Legend Bor down beat. ans. Marin ‘Bebop And Aller: A Report a Nat Henfott and Abert J. McCarty. ed, “Jaze New York. Grove ‘Telistaners Legacy down bast hero's the Melody? New York. Pantheon, There Nagivon, New ark: Onlord ‘A Chatto Parker Masterpiece, ranecibes by Zio Cano and Jimmy Gui reprinted n down beat Muse Handbook ‘witams, Tony ‘Chelle Parker Oiscogtaphy: Discographical Forum, ison, Jann slaz: The Transvon Yeas, New York: Appin Century Crofts, ee 1920 SELECTED DISCOGRAPHY Charlie Parker ‘ Bird Symbols — verve vLP9108 ‘Ghare Pater, Volumes +6, Saba ERO 8005, 8906, e007, 6081, 8035, 2052 (imports) (Ohatie Packer, Savoy 12152 Chale Parker. (combining Bird at St. Nick's and 8a on Send Stee), Fantasy 24008 CChatie Parker's Greatest Recording Session, Savoy 12078 Cate Parker Merril, Savoy 12000, Volumes 1.2, 3.4 Charie Paiker on Dial, Volumes 18, Spotila 101. 102. 108, 104, 105, 198 impot,itedeation ‘Chara Parker Story, verve 88000, e800%, 68002 Ghate Parker Worl, Roos 257 The Detntive Gna Parker, 14volumes, ESI 1-14 Echoes olan Era, wih izzy Gilespi, Roulette 105, ‘The Essential Care Parker, Verve 65409 ‘The GeriusoCharie Parker, Savoy. 12009, 12014 ‘Te Genuis of Chane Parker, Verve 68009, SE004, 68005, 68006, 6807 ‘5008, 68009, 68050 (Groowe High, Savoy 12020 (Guild masters) Tha immoral rate Parker, Savoy 12001 slay MeShann, New York, 1208 Miles, Decca 9226 (Hoot Alues, Confessn'The ‘lves, Sepian Somp, Lonely Soy Blues, Smngmaiam, Hoots Ignorant) zz A Massey Hall, Fantasy 86008 ‘azz At The Phiarmonic, Columbia) 33CX10082/5, J.T. (A) New Vols. + na? Ornithology, Sosy €) SOCr026 Yeradie, Pekwick $3054 Chale Parkes Historical Masterpioces, Vol. 1, 2, 39. MGME 366/718, Le Jazz Coot a} st 101/273. TRANSCRIPTIONS Charlie Parker — A Jazz Master MCA Muse ADiusionel MA, INC eke. Now York 11746 band C instruments with Plano Accompaniment Dizy armosohere Crazsoieay Grows High(Stor version) ——_“Embraveable You Groowe High Longversion} ——_‘Grooet High Hootie Blues dust Friends Ph Remember Apri Ke. Buee humaine Bes Metrygeround| lover an Night ie Tuna Night in Tunisia Now's Me Time Sait Peanuts, ‘mitotogy Parkers oo Spaces —Jaz2S2ios(Faxebook) Guasimeds, Bongo Bee Asioum Al Camaro Cherokee Shootsa Charlie Parker — Jaz Improvisation Stood by Soe wate =hechon Ra (CHARLIE PARKER ON DIAL Diggit Ov — vol 1 eORG028) Bier Nost— val 2(€08 9029) (CoolBiues — vot 2 OR 029) ‘heers — vol. 3(EOR 9000) 'ongo Sep Vol. 4 {E08 9031) ‘idol Paradise — Vo. «(OA 9031) Bicdof Parades — vol «(EOF 9021) Biol Paradies — Vo 4(E0R 9081) Big Featners-— vo. 5(EOR 9032) KlactOveeseds Tene vol 5(€0R 9022) (Out OF Nowhere — vel 5(EOR 9022) (Chare's Wig vl. 6 (€0R 093), Bongo Beep — vox 6(EOR 9033), (CHARLIE PARKER VOL, 9/ GROOVIN’ HIGH ‘20 Steet Thema — (ERO 8007) Groovin High = (eRO-8007) ow High te Mon (ERO-2007) JAZZAT MASSEY HALL Perigo — LER SSH Hot House — LFA a649 ‘Aight in Tunis — LER 8649 SWEDISH SCHNAPPS (The Genius of Chale Parker #8) Lover Man ~ Mv-2030 (CHARLIE PARKER WITH STAINGS Easy To Love wv.2662 FiRemember Agr — Mv.2562 sino syeaous My Ola Flame —UPS.1S j | Charlie Parker (Solos) spaces Jazz Solos Bootieg Fake Books Bongo 8eep Ghorokee Grazytogy Embaceable You Groowe High shstErende Ke elves Norry Go Round Nightin tone Now sthe Tene eihaiogy Parnors Moos Guasimags Betas: atCamarito Shee Sr22 Saxophone Solos by Charlie Parker Transcribed by Ken Slone Eaited by Jamey Aebersold Criterion Anieuscna Ghasio"Teaire | Marmaduke ‘rather Hair Sher! MerryGo Round AuPhvave Sich Mohawie Beck Home Blues entimation ows he Time Balas enstelaion (Oscar For Treadwell Sarbecos Cosmic Rays Passport Bille’ Bounce Dewey Square Reacioss BiaiGote re Worm Drerse crappie From The apple Elcomda Dona Le Seoment Blueors Ko Blues Srenote Blues For Alice Kim Stoepie Chase funy Koko ‘Suede Shoes Caraboars Klosnstance Tesi Galea tate Bara Thing On it teap Frog HECKMAN, ON ‘i n Fight down beat, 22(March 1), Page 2-24, CGhasin'The id axceri) Groovin’ Hign one chon) ‘ne Jumpin ses sustFionss iKlactoveescasione TTnning Feom ARI HODEIA, ANDRE +222 ts Evolution And Essence Tranceried by David Noakes, New York: Grove ool alues HODEIR, ANDRE ‘azz in Lerousse de a Musique Vo. Paris; Libre La Rousse Dont Blame Me HODEIR, ANORE Toward Jaz, Transcribed by Nee urch. New York: Glove Grithoiony MEHEGAN, JOHN azz previo, ol. New York: Kop! ‘ist Frenge MIEDEWA, HARRY #822 Silcs end Analysis, iw Sux, cown Beat Workshop Publications. Chicaco Blcomdiso Groovin High sist Fonds Now's Ine Time Omnithology ‘OWENS, THOMAS Chae Parker: Techniques Of improvisation VO. (Gisseraton Unversiyof Gatfomia Los Angeles, Ph.., 1974 Music)PARKER, CHARLIE, (Compose) and MORRIS FELOMAN, (renscibe) Capitol ‘Songs, New York Moose Te Maen Orithoiogy Yareaia Ste PARKER, CHARLIE ‘Sheteh Gris, Designed for Smal Groups Tanscrted tom his enignal Record ings, New York Atlante Music Balace ines Colebay Cosmic Rays Diverse Late Boie Leap Frog Ke sues Segment PINKERTON, PHYLLIS Charie Parker Now York: Leeds DiznyAimosanare Hoole ues Mi Remember Aart Lover Man SatPeancia ‘STUART, W DORSEY Transcriber and Eator Famous Teanserbed Recorded Jar? Soles: Chaiie ‘Bir Parker. New York: Chara Parker Muse Bongo Beep Crazeolegy Dring On AReea(Big Foot) uasimeas WILLIAMS, MARTIN ‘A Gharie Parker Masterpiece down beat Music Workshop — down beat 37 (Wont2) Page 34 36 Emoraceabie You — notated by Jim Gur and Zito Camo reprinted in down ‘Dear Music Handbook 77 seo ovina! of deze Swdies. June 1915, Publanad by Augers insitute of Jaze Stites.‘The musician shouls learn memorize) the improvisation and pay it with the record being careful t duplicate the time feel, inliecions, Vibrato, intensity, ete, as closely as possible. Nex! the player mighttake allot he V7 patterns and iranspose them to twelve keys varying tempo, Volume, meter. register ete., unl absolutely comfortable. Now the player might conceWaby realize allo! he V7 situations inthe tune teing Teamed using one single patern transposed fo fi the narmoni situation. Next he should examine the various scale and melosie pattems to ascer- fain how the soloist uses thom, tnen transpose the patter 10 all keys, ‘again varying musical components such as tempo, meter, volume, etc. Next ne should da the same thing with cycles, turnarounds, ee. moving then fom the highly specif environment of that particular compastion toa more ganeralized musical situationSTYLES AND ANALYSIS FORMS 26 ants Page Title of composition abun: Recording company: Leader or sidensn: Instrunent Tune type (circle one or more): blues Sexe ortpinal betlea iebon odal Lastn/Afro-Cuban/ete, Standart other (apecity) free Tempo ey: Dranatic devices (efrele and describe! vibrate Hfavands Breieulation (epectty): alternate fingerings other (pectty) “eale preferences (circle one or nore): safor (and derivatives) blues hole tone pentatorie dinintehed Chromatic diminiehed vhole tone other (epectty) Aydian dominant Prevatling scale patterna: Recurrent pateerna: (A) 1 V7 Turnbacke cyeles (2) Metoste patterns oo ee26 @ Co) Rayenmte patterns (0) other formulae PERFOWANCE PRACTICE developmental techniques: (Gisele and describe) General coments ee (vt tn yy HET VE TE vs hele progrenstons,ete atapie to complex Complex co sieple single eltnax fhany etinaxes verttenl Rerizoneal chord referenttal thenacle referential use of sequence/eall and response use of quotes (what and vere) use of substitutions double tne half tine eeymeericel growtings Telterative on-relterative describe relationship to the basic tive ehythate practic melody: folk-like btueey Vide expresatvely bebe Rerrov expressively quartet riefeltke Sther (apectty). _—STYLES AND ANALYSIS POMS Anrist_Charles Christopher Pasi Title of composition: Most of Nowhere" Atbum: Charlie Parker: Vola II 75-232 Recording company: Everest Recoris (Archive of Folk and Jats waste) pate: 12/16/48 Leader or sidenan: Leader Instrusent: Alto Saxcrhone ‘Tune eype (ctrele one of nore): blue Jazz original ‘ bellea bebon’ i nedal Taein/Afeo-Cuban/ete. i (standard) other (apectfy), i free Tempo: J= 168 Key: Concert G (Alte key of 8) Dramatic devices (circle and describe) :(vibrate) varied (Glaeg) Tips (flineanet) Articulation (specify): varied alcernete fingerings harmonies other (specify): Teosttura: middle to high Scale preferences (ctrele one or ore): (major (and derivatives) blues whole tone penesconte (@intataned) (Eheonatte) diatnished whole tone other (specify) (lydtan dosinant) Prevatling scale patterns: Soo attached sheets Recurrent patterns: (A) IT ¥7 Seq attached cheste ‘Tumbacks cycles (3) Melodie patterns See attached sheets ST SES28 @ (©) maythate patterns (®) other formutae (I VE IT Vi IIL VI IT ¥; half-atep progresstona,ete.) PERFORMANCE PRACTICE, Developsental techniques: simple to complex (eireie and Gescrive) complex to staple single clinax any clinaxee vertical Rorizontal chord referential thematic referential tse of sequence/eall and response tune of quotes (shat snd vere) of substitutions Meeyesteical groupings retterative non-retzerattive melody: folk-Like biuesy vide expteastvely eboo Tecrow expresaively — guarcal rifeeltke Other (azectty) ‘ceneral ComentsCharles Parker: Out Of NowhereCharles Parker: Out of Nowhereoa SITES AND ANALYSIS FORKS AWTIST_tharles Christopher Parker Page, Thee of composteton: Now's ibaa: 2H Recording cospany: Verve MeV 8001 Leader or sidenin: Leader Instrusent: Alto Saxophone Tune type (eitele one oF more): tues ) Jazz ortatnal Sailed bebop soaal Latin/Afroncuban/ete Tender ther. Capecsty) tree teapo: at = 208 Key: Concert F (Alto - 0) Dramatic devices (etzele and denceibe): (tbrato ) Guure ) Gips) frowle Giterands) Geetculetion Lapectty): eermate Hngerings harmonics other (apectty): Bont notes Teosttura’ middle to high Scale preferences (ctrcle one or sore): fajor (and derivatives) —( Whole tone deintanes (Chronae se) Aiminiehed vhole tone other (specify): ydtan doetnant Prevailing scale pattern mainly Giatonic patterns Recurrent patterns: (AK It ¥7) see attach: A sheet (Tumbacks) soo attached sheet cycles none (8) (Wetodte patterns) see attached sheet ec,@ 35 (© mythate patterns sesaight ahead (©) other forwutae (XVI TT V; (IIT VE TE Vihate-step pro ‘SEE SHEET ayers.) ) renrowovice Practice developmental eechntgu (eteele and donee sisple to comlex neither Complex to simple single climax (Seay eLinaren ) teat Soriiencd » PTH (chord referential) thonatie referenttal use of sequencefcall and reaponte ) (C) 1 thru & ute of quot (shat and vere) only his own (i.e., (A) 1-4 (o) ah ‘use of subatituttons(D) 7-8 half step passirg chords rhythate practice Gouble time ) (A) 10-11, (2) 8 half tine nenynecrical groupings (retteracive ) on-reiterati ibe relationshin to the baste tive: yith the t but relaxed and "layed Back" elody:(fotk-itke ) (otuesy ) (wide exprenstvety ) bebop”) nartor expressively ‘qoareal cries) ether (opectty) General coments:F. mes the phyos Charles Patker : Now's the Time . Ari fit £. (li Wy / Trip Ve) EE rn(Blues) U7 =e (Blues) » 7 (Blues)? itr tie - + (Bes) Dy 4 SS “BWes) oN 5 (Blues) Dy (B15) 0,40 STYLES AND ANALYSIS FORMS aetist Charles Christopher Parker ase, Tele of composition: "Hot House" dubs: An Buening at Hone with the Bird Savoy NG 12152 Instrument: Alt Saxophone ‘Tune type (circle one or nore): blues (Jaze ortatnat ) belled bebop) Uatin/Afro-Cuban/ete. other (apectty) standard based "What Ij this Thing Tempo: = 190 Key: Concert © (Alto key of A) Dramatic devices (ctrele and describe) { vibrate) (ature) tip faroule ( sitesanas ) (dreteutatson) (opeetty) varied alterna Rermonten other (apectty) + Fingorings Teaeseur middle to high Scele preferences (ctrcle one or wore): (najor (and derivatives) ) (tues ) whole tone pentatonic ascending m.m.i.eni7=(ascending( dintatehed ) (Enronatte.) a. ‘Aimintahed whole tone ether (specify) + phrygian i.e. c7=phrygian _Lydtan dominant ascending nejodie uinor, phryetan Pre {ling scale patterns: varied Recurrent patterna: (A) ft v7) Soe attached sheet Turnbacks cycles () Wetodte pattern) Soe attached sheet@ (© Roythate patterns basicaly 8th notes () Osher formulae (I VEIT v{ IIE vr IT V;)half-atep progresstons,etc.) Tunes AABA Tecurs in meas. 1 thru l of cach (GO) section | rerronace practrce | developaental technique (circle and describe) 3: ( simple £0 complex ) varied ( comer to stepie } single etimax (any climaxes ) (vertteat ) oth (horizontal ) » (chord referencial) thenacle referenctal use of sequence/eall and response Hooee ene dooen” ()18-20 Win. Teli” Overture (€)29-32 wee of quotes (shat and where) Bui, your mya (C295 Dorey Use of substieutions Ree : Crt rte: Gant i foe yeetrical groupings ( felterative ) non-relterative ‘evertbe relatonship'to\the baste timer On toy of the tine. ‘melody: (fotk-1ike) (dluery (wide exprenstvety) —_ { bebon) hartov expressively quareal erties other (epecsfy) teneral Comente: Quotes and melodic patt: of Repose te. Najor chords or points of reste Nady doginant 7th re realized with the derived diminished chord i.e, S7=3¢7) the gninant 7th chord is often realized with the phiygian seaie 12, "750 phrygian. eras generally fall on places a er eeca 4968 Hot House Savey MB 41452 + ¢ A eS == Firs SS = Copano sty ben oleate St4 et ate 3g hth See art EEECharles Christopher Parker Hot Houseof STYLES AND ANALYSIS FORKS 5 AwrIst_Charlos Christopher Parker Title of conposition: "Perdido!" Atbun: The Greatest Jane Concert ver (previously Jane at Massey Bal Recording cospany: Prestige PR 2h024 dace: May 1953 Leader or sideman: Al1-Star group Tnstrusent: Alto Saxophone ‘Tune type (etzele one or more): blues (daze ortginat ) balled bebo nodal Laein/Afzo-Cuban/ete. (seandera) other {apectty) ' Tempo: d=ssh * Key: Concert B (Alto key of a) Dranatic devices (etrele and describe) :(vtbrate) Gaues) ip rows (aLiesands) articulation (apectty): yarted alternate fingerings harmonics other (apectty) : Teswttura: middle to high Seale preferences (ctzcle one or more): ( mafor (and dertvatives)) blues (thate tone » pentaconte (dtatatened } (Chromsete) (Ateintahed vote tone) “other (epectfy) ydian dontnane Prevatling scale patterns: Sen attached sheet Recurrent patterns: (A) IT ¥7 See attached shoot, Turnbacks cycles (%) Metodte patterns52 @ (© maythate pacterna (©) other formulae (I VE TT Vy Irt vr IE vs half-step progeesatonsete. PERFORMANCE PRACTICE Developmental techniques: (staple to complex ) (etrele and describe) complex to sinple (single climax) (k) to (2) eny elinas (verttent ) (Chortzoncel ) ghoed veferential ) (ihenatte teferentéal) (5) th; (H) 1 use of sequence/eall_ and response Throughout theighest, 0, (D) 1-8 tse of quotes (what and vtere) "Robin Wood" (I) 1-3 Chopin's Minitary Polonaise (J) 1-2 se of subscteuttons ore implied through soale chotoes than through ‘actual chord eubstitution, 1.0, (B)8 (f step)y (kK) 14 thythate practices (double tine) (K) 58 half tine aysetrical groupings (etteraeive ) non-reiterative describe relationship to the baste time: on top eledy: folk-ltke (tuesy) (wide expresstvely ) —(sebop ) arrow expressively quartal (HUET) other (epectty) General coments!Charles Parker : Perdido© t0re br eee 3 FP ++ 5 Peep po Ea) Any Dry by on se T f } ay 7 eS Femi, 5), tyt © Ann Snipe) Aig Dra)56 Charles Parker: Perdido58 The Language Ail ofthe iV? and meogie pattems, cycles, turnarounds, etc, which have been abstracted from a wide variely of musical sivations, have been transposed to the key of C. In order to derive maximum banetts trom tne study, the reader's encouraged to transpose the paltere o a) keys, varying musical components such as tempo. meter, vslume, register, vibrato and articulation, ‘Whenever possible, the author has grouped many of the melodic patterns according to scale or mode. e-g.. dian dominant patioins diminished patterns, etc. This practice alows tne student to see at a lance the soloist scale preferences na variety of musical environs, (The ‘chord 10 seal sylabus in the front ofthis beck willbe an invaluable aid etermining why andnow the soloist chose a pertcular scale). ‘Once the material as been understood and internalized, the readet should begin stiving to personalize the myriad patterns and seals ina way compalibie with his/her own musical phiosophy. Finally, this series of monographs provides the jazz musi: Glan/teacher at whatever level of development the unique opportu 10 “study with" John Coltrane, Miles Davis, Chante Parker aSelected I Vy patterns of Charles Parker ve Gy (45)Gq(08) OS oe Etietegipte, te = eo = — eS06 Selected Melodic Motives Call patterns over ¢ or Cy)eb“ malpic peters onthe ale tone seal al patlerts ver Ce Cnr)