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Charlie Parker's Omnibook (Eb)

Charlie Parker's Omnibook (Eb)

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12/07/2015

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For E Flat Instruments

*

Transcribed Exactly From His Recorded Solos

rlie Parker
There have been three books written about Charlie Parker w h k h cover his life thoroughly and these are recommended to learn about the hard life he led and the way he influenced Jazz in America. The books are BIRD b y Robert George Reisner, HARLIE PARKER by Max Harrison (British) and BIRD LIVES! by Ross Russell. He was born, brought up and educated in Kansas City, Kansas of q poor family, with his mother heading the family, the father long gone for other pastures. His mother managed to see that he learned the rudiments of his instrument, the alto saxophone and it was even a struggle to buy him a horn and get him lessons. In some ways, he was like Picasso, ever searching for new ways of expression, bored with the stereotyped changes in ad-libbing (impressions), he experimented until he discovered he could produce his ideas associated with personal experience by using devices related to the higher intervals of a chord as a melody line. And like Picasso, once arrived at his ultimate style, he stayed there since imitators could not comfortably or naturally follow his direction. Just as you can look at a modern Picasso work, you can hear a Parker solo and identify them easily. Unfortunately, Parker lived 35 years, Picasso almost 95. Because he preferred to work with small groups, he was able to develop his unique characteristics; mobility of attack, freedom of accentuation, imagination and fluency of his inventive faculty and rhythms. His "bop" adventure brought about a fresh harmonic complexity with richer melodic language, employing a greater range of intervals. This creative area was not accepted immediately by his peers or public because it dared to be different and it took years before his "sound" became popular. I have followed Parker's career through the years and when scouting the Harlan Leonard band in Philadelphia about 1938 or '39, he might have been still with the sax section. Definitely in 1941 while with Leeds Music, now MCA, I brought the Jay McShann catalogue into the firm along with some works by Charlie Parker and heard this band live. Living in New York and frequenting the 52nd Street clubs, it was always possible to hear him with his own or all-star groups. An old friend Billy Shaw, his manager, was kind enough to entrust my company with his copyrights and this began a long association with his music that resulted in the acquisition of his compositions which comprise this book. A great deal of preparation went into the production of this book. The actual solos were transcribed by Jamey Aebersold and Ken Slone, a monumental task. We are very proud to be the publisher of the most important collection ever made of the works of Charlie Parker.

Michael H Goldsen
Publisher

I don't feel the idea i s to try to play the solos exactly as Bird did.INTRODUCTION The solos in this book represent a cross section of the music of Charlie Parker. Older musicians used to improvise mainly on chord tones. etc. Practice with a metronome. and end up playing them in our own way on our instruments. W e hope to very shortly offer a condensed book of solos which will be transposed to Bb keys for Trumpet.1 . Only a minimum of articulations have been put in this book. but rather to find phrases. It should become automatic in order to really be useable in a playing situation. In presenting these solos. even when playing songs other than blues! When you find licks or patterns that you enjoy. patterns and phrases we like best. the chord i s the same as the measure proceeding it. gradually increasing the speed until you are at the recorded tempo Bird played it. When a measure occurs without a chord symbol above it. The records from which these solos are taken are listed at the top of each solo page. By being able to see and play the actual notes. all the while retaining the inflections. articulations. then move to a record that has a faster F blues. each chord symbol represents a series of tones called a scale. We encourage you to play these with the actual recording. Some compositions have the two versions recorded by Parker in separate solos. and then playing the notes the way you hear it on the record. articulations. i s often times best imitated by listening over and over. that you feel you would like to incorporate into your own playing. Blues make up the largest portion of this book. articulations. we hope to bring musicians closer to the true genius of "Bird" The solos are in E key which means they can be read right out of the book b on Alto or Baritone Saxophone. turns. it should help speed up the learning process. This might seem like the long way to do it. 7th chord/scale. Many players play like Bird but retain their own personality. etc. being an aural art form. Other instruments. practice the licks. Remember. The two record sets are a bargain! We hope you have as much enjoyment with this book as we have had putting it together. etc. Most Jazz musicians have learned to play b y listening to records and imitating the notes. Listen to the record first. A R l T S w~ nave 14. - Jamey Aebersold For SCALE S V T . Most players like to analyze solos in order to find out what the musician i s doing. that you would use at the slower tempo. of the masters. Charlie Parker was one of the first to broaden that to include scales and substitute scales. scoops. then play through the solo slowly. transcribe it. Rhythm changes come next. Try practicing some of these solos with the Aebersold Play A Long records. analyze it. Each day try to increase the tempo a little. of course. Tenor Sax and Soprano Sax. Take a slow blues solo in F and play it with one of the records in the series that has a slow F blues. vibrato. Our ears cannot always HEAR what i s happening so we slow the music down. It i s fun to work towards playing the solos with Bird along with the actual Parker recorded version. who would object to listening anyway? Listening i s what music i s all about. W e feel that jazz. T . will have to transpose. We have put chord symbols over most all bars to enable you to analyze the notes in relation to the chord. but experience has proven reliable. For information on scale substitution refer to the Scale Syllabus chart. They are contained in approximately eight records (some are two record sets) and most all are still available. After all. The Blues scale and its accompanying licks was an important part of his music.* Bird loved to use the b9 over the Dom. practice them in several keys so the melodic phrase becomes a part of you.

Confirmation y Charlie Parker VERVE 8005 0 1946 ATLANTIC MUSIC CORP 0 Renewed and assiened 1974 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved WW TURN PAGE .

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Moose The Mooche C. V r ATLANTIC MUSIC.ind i i s s ~ r ~ ) e d ATLANTIC MVSIC C ORP 3 1974 0 1978 ATLANTIC MUSIC CORP All Riglits Rc-ierved \V W .CORP ' 2 Renewed . PARKER 407 ^ 1946 .

.

PARKER 407 0 1946 ATLANTIC MUSIC CORP 0 Renewedand assigned 1974 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC' CORP All Rights Reserved W W.Ornithology rker and Benny Harris 'BIRD SYMBOLS' C. .

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Yardbird Suite ¥BIR SYMBOLS' C PARKER 407 QJ946 ATLANTIC MUSIC CORP Renewed and assigned 1974 ATLANTIC MUSIC CORP 1 1 9 7 8 ATLANTIC MUSIC CORP W W. All Rights Reserved .

.

Anthropology arker and John 'Dizzy' Gillespie COLUMBIA 34831 0 1946 ATLANTIC MUSIC CORP 0 Renewed and assigned 1974 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .

TURN PAGE .

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ey Square JAZZ GREATS JG-617/BLUE RIBBON 8011 0 1958 A T I A N T I C MUSIC C O R P C' lC178 4TLANTIC MI'SIC CORP All Riqhts Reserved \V \\ .

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From The Apple BLUE RIBBON BOll/UP FRONT 171/CHARLIE PARKER RECORDS 407/SAVOY 1108 Zoo * I E- - C 1957 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reseivecl .

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VERVE 8010/VERVE 2515 0 1956 ATL XSTir MI'SIC CORP 0 1978 ATLANTIC MUSIC CORP All Riqlits Rcsen ed .

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Blues harlie Parker BLUES VERVE 8840/VERVE 8010/MGM 4949/VERVE 2515 ^s/~ 0 1956 ATLANTIC MUSIC C O R P 0 1978 ATLANTIC MUSIC C O R P All Rights Reserved .C.K.

. 0 Contains a record of many of the 169 examples and the recording of a complete score of an exciting co~itemporary composition by Garcia. free improvisation.. Best selling text book used b y leading universities. For the advanced arranger Endorsed by leading music educators and composers and arrangers. New scales. etc. progressions. I\ BOOK ONE \\ ^ 1 Ã ‘ Basis for course in Practical Arranging and Composing in the professional field.THE PROFESSIONAL ARRANGER COMPOSER (BOOK ONE) By Russell Garcia . RUSSELL CiARCIA I AND NOW! THE PROFESSIONAL ARRANGER COMPOSER (BOOK TWO) By Russell Garcia Discusses contemporary trends i n Jazz. oaks complement each other1 You need both books for a complete course! ORPORATION 61 24 Selma Avenue. 90028 Calif. using tone rows in practical music. chords. vocal effects. (Musicians used are the top instrumentalists on the West Coast). Pop and "Modern Classical" Techniques. Hollyivood.

Celerity VERVE 8002/VERVE 2512 '1 1953 ATLANTIC M U S I C CORP 197~ ATLANTIC M U S I CCORP All Rights Resoi ved .

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1) Charlie Parker VERVE 8010/MGM 4949/VERVE 2515 0 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All R i ~ h t s Reserved .Au Privave (No.

Arranged by Frank Cornstock THESE BOOTS ARE MADE FOR WALKIN' BEDHIE'S TUNE DREAM INTERMISSION RIFF IT'S A GOOD DAY 1UMPIN' WITH SYMPHONY SID MOOHLICHT IN VERMONT OFF SHORE ROBBIN'S NEST SPECIAL OCCUIOH MEDLEY TAILGATE RAMBLE VARTISY WALTZ MEDLEY Arranged by johnny Warnngton TIHY BUBBLES

(Rock H i l l
I B r t g m Swinel (Johnny Mercer; (Bouncy) (Bouncy! IswingYl (Great Standard (Dreamyl (A Swinger'! (Often used Songs) (Dixieland1 (Dreamy)

Au Privave
(No. 2 )

rlie Parker
BLUES

VERVE 8010/VERVE 8840/VERVE 8002

0 1956 AT1,ANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP 411 Rights R~sfrL P(I \

A n Important Elementary

Arranging Book For Schools

.-.. .

a
( a co"*e-po~aq me*^odl

FIR

Written by Pros..

.

Contains two records of charts in the book: and "Moonlight In Vermont" for full orch. and 4 examples of. contemporary styles by a leading university orch.

reachas you to make a chart step by step, using "Moonlight in Ver-

BARNEY KESSEL says 7his BOOK opens the door to an arranging career for musicians Van's first book did this for me "

hi Chi B arlie Parker VERVE 8005/MGM 4949JVERVE 8409 0 1955 ATLANTIC MUSIC CORP 0 1978' ATLANTIC MUSIC CORP All Rights Reserved .

TURN PAGE .

Chi Chi .cont. Cosmic R a y s harlie Parker VERVE 8840/VERVE 8005 0 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Resen ed .

CRITERION MUSIC CORPORATION PUBLICATIONS SAXOPHONE TEUOR SAXOPHONE SI-flES By SK" O w a h u e Solos by Don Byas Lester Young.Cosmic R a y s . etc CHARLIE PARXU'S I E W P ALTO SAX FOLIO Recorded hit bop atlo solos L i N O l S JACOUET TENOR SAX F O L ~ O Recorded hit tenor solos ChAKLlE I E T M TfhOB SAX FOLIO T NU 4 oneinal recorded tenor solos DRUMS AMERICA'S CSUTEST DRUM STTUSTC By Gtorgt Wflthn. Harry limes i D u n ~'llespie CLARINET G X A T C U ~ I H E T1TTUS Solos by A r i n Shm. Feiturtng styles of 22 top-notch drummers r n O F i S S I 0 N U M STUDIES M 1v Brtd SOIÇM or RÈli Stif f Screen I TRUMPET S H I T THUHKT S m i S By Bill Butterfield Solos by Louis Armstrong.cont. Bwny Gx4msn Buddy de Franco ate JAZZ C O N C I K O fOS CLAIINET BY Buddy de f r m o .

Laird Baird B- Bb- . A- 0 1956 ATLANTIC CORP 0 1978 ATLANTIC MUSIC CORP MUSIC All Rights Reserved WW .

.Featlirmg JOSE. -usic a i d the music business 21 1 poges filled with text a n d music examples 'covering over 60 different ospects o f the guitar An easy-to-read. spiral b o u n d Launndo Almeida s Concert Guitar Folio "FROM T E ROMASTIC ERA" H Transcribed Solos -from his Capitol album Music of Beethoven. easy-to-undersiond book.Featuring OIAMDND HEAD GRINGO and OK other hit songs.. AK U B O = I -Featuring W L DON'T R N and others OK B O 22-Feat~nng J U N Y T T E S A S and OK ORE O H TR others B O =3 . INSTANT GUITARS and OK others B O *4 .BbI GUITAR T T R by Liiirindo Almeida UO A Compieie Concen Guitar Metrod m 3 CoursesFor Beginners-Intermediates-And Advanced Stu dents-Includes Sa'os transcribed from Almerda's Capitol Recordings A M o s t Unique Guide f o r Guitarists Answers many queshons a n d solves p r o b lems relohng l a the gu^a. has suggested drum rhythms . Schumann Chopin Massenet and Greif UURIHOO ALMEIOA GUITAR S L S OO All solos transcribed a recorded by Launndo Ai s meida on Caoitol Rerfid1: BOSSA GUITARRA 6 Solos lor G u b r b y HURINOO AL"E+DA Guitar Solos with lead line and chord s y m w i s (finger style guitar) Also.

1) B y Charlie Parker VERVE 8010/VERVE 8840/VERVE 8002/VERVE 2515 0 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC C O R P All Rights Received .She Rote (No.

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2) Charlie Par PEDAL CONCERT VERVE 8010/MGM 4949 "F" 1 i iano n " I LANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .She Rote (No.

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.Mohawk (No. 1) B y Charlie Parke VERVE BOO~/VERVE ~ ~ O / V E R V E ~ 2501 0 1956' ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved.

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2) VERVE 8006/VERVE 8002 BLUES A - 0 1956 ATLANTIC -MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .Mohawk (No.

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C O R P 1978 ATLANTIC MUSIC' CORP AH Rights Reserved .An Oscar For Treadwell VERVE B002/VERVE 8006/VERVE 2501 0 1956 <E ATLANTIC MUSIC.

/ TURN PAGE ..

WE COASTIN' LES BtXTEB'S EXOTIC MUSIC EXOTIC SOUNDS OF MARTIN DENNY ERROu 6ARhEB PlAhO SOLOS. '. ÈHOÇ I . ! . . . I ERROLL GARNER PIANO SOLOS.I .S I F '.cont.' '- [OWN etc P I A N O SOLOS AUTUMN CONCERTO LUSH WALTZ ¥<OHTI MOON -I IN VERMONT THE hAntii iEA OFF SHORE RDBBIN S NEST RUN~~WIT ROCKI~GHORSE WALK TO THE BULL UHt HAWAIIAN SOX6 BOOK 26 Hawat~anhi1 songs ircluding PEARLY SHELLS FOREVERMO'IE elc ISLAHD SOH6 BOOK 31 hats lealuiing TINY BUBBLES KAINOA SINGING BAMBOO e!c SDHGS FOR SINGERS-Book songs including 36 iT IN VERMON MI .An Oscar For Treadwell .TJI'. - .IE i J V C TO WMCH . '.:~ CIILS BY.Il1 BWià CJIIT ÈILL'. P I A N O FOLIOS FOLIOS piano & VOIC~ w i h w t a r chords LEE HAZLWODD FOLIO = 1 Conlams bus 1-ke HOUSTON SAND THESE BOOTS ARE MADE FOR ~ A L K ~ N elc LEE HULEWOOD FOLIO = I ones including 6C SL---. 5 7-:Is:! I IV!DlSDDY~ 1tLt.' '.. I1 H REVEL'S MUSIC OUT OF THE MOON HAT KING COLE S PIJWO SOLOS .elC TOP TV BSDID iRECORD HITS Fill: ACCORDION SOlOt l.X TOP TV HIT TUNES 29 hit standards includln DREAM ITS A GOOO DBT nuRRf ON DOWN eic . .

Constellation harlie Parker SAVOY 2201 TURN PAGE 0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .

.Constellation .cont.

. N O HUHU. . '. .is B I C'.%!rat.Polynesian Criterion's ~ook i Cnlenon's Authentic S O U T H SEA F O L I O S .' . FOR PIANO. P. GUITAR 6 VOICE -Plele words and music ' "5 an h i t songs Featuring ' Y . E IJ M A I (Hawaiian Love Kt ' There Roc.SOHGS O POLYNESIA F = 3 .S FOREVERMORE M A fINI.o 5 10. .* rAlN HIGH VALLEY LOW SONG OF INDIA HOUSE OFF 51 OF B A M u u u etc HAWAIIAN SING-A-SONG LYRIC BOOK Include! SHORE Words t o 84 Hawaiian favorites New & Oia ' P a . I L L SEE TUU I N i-iArtAlI etc HAWAIIAN SONG BOOK H A W A I I A N BOOK FOR ALL ORGANS ' *Wsth rcg.' Complete words a n d music t o 17 Hawaiian h i t songs including PEARLY SHELLS QUIET VILLAGE "REWELL NO H U H U WAIKIKI MAPUANA etc S A SONGS E = 2 . PEARLY SHELLS.? set or.u k ~ i e l e g ~ i t a iel: m sii 5tnge rote Criterion s Book 2 Criterion s ISLAND SONG BOOK FOR PIANO.SONGS O PARAOISE F =6 -SONGS FROM THf PACIFIC ISLfS = 7 -SONGS fROM THf ROMANTIC ISLANDS =BÑTUNE FROM THE TROPICS Conl3ms and r ~ m co r v:Ke f i ~ t r u m e r l s . BUBBLES. Words & music and instrumentals of 15 Exotic igs including QUIET VIL LAGE '. . c > A"* P. GUITAR & VOICE Complete words and music t o 31 Ha Featuring TINY B U B wanan hi* ---.KEALOHA EXOTIC BOOK FOR ALL ORGANS 'With registrations far Pipe Electric a n d P r e Sei Oraaln5..pe E l e c t r .ISLAND SONGS = 4 -MAORI MELOOIES =5 . CRITERION'S . ''.qan51 Songs from Hawaii Tahiti Samoa & Maori Book Book Book Book Book Book Book Bank =I -SOUTH . OFF -:1 ' VILLAGE etc ". '.

All Rights Reserved .Donna Lee harJie Parker SAVOY 2201 0 1947 ATLANTIC MUSIC 0 Renewed and assigned 1975 0 1978 ATLANTIC MUSIC CORP ATLANTIC MUSIC CORP CORP.

TURN PAGE .

D o n n a Lee - cont.

ORGAN FOLIOS
14 HITS For All ORGANS Great Standards arranged by Ben Kendatl PlClFlC ISUMD HITS For ill ORGANS 17 Island lavoctes like TIHY BUBBLES arranged by Ben Kendall EXOTIC HITS For All OBGAHS 15 hits like QUIET VILLAGE etc HAWAIIAN BOOK For 1 ORCANS 1 1 Standards lakt Pearly Shells etc TOP N. RADIO 1 RECORD HITS For hammono Chord Organ m t h words 6 music for Dream Moonlight In Vermont-plus 21 more hits CRIIESIOU ORGAN HITS For the Preset and Spinet model Hammond Organs 19 hit songs arranged by Mark Laub CRITERION ORCAN HITS For all Wurlitzer Organs 19 n n songs arranged by Mark Laub EARL ERAHI'S FAVORITES For the Hammond Chord Organ Words 6 music to 77 top songs recorded by Earl Grant QUIET VILLAGE - For Hammom! Organ PEARLY SHEUS - For All Organs 11HY BUBBLES -For A l l Organs

EXOTIC BOOK FOR ALL ORGANS
a n d Pre Set Oream,) Words & music a n d instrumentals of 15 Exotic ="figs including QUIET VlL LAGF Ã '.TAIN H I G H VAL I F Y I OW OFF SONG OF INDIAHOUSE OF I ' " etc
(With ,cg,stra,,ons

for Pipe Electric

HAWAIIAN BOOK FOR ALL ORGANS
(With iCgistrationi for Pipe

Electric

on., Pie set organs,

Complete words a n d music t o 1 7 Hawaiian hit songs ,--i..-,ng PEARLY 'SHELLS QUIET VILI : FAREWELL ANA etc NO H U H U WAIKIKI " '

Kim
(No.1) By Charlie Parker
VERVE 8005/VERVE 8840

8
TURN PAGE

Q

^ 1978' ATLANTIC ?lUSIC

1956 ATLANTIC MUSIC CORP CORP All Riglits'Reseived

ww.

Kim (No. 1)

- cont.

LÈC IATI THE END {OF A UINBOW1 .fill l T E I M i l i l C i RIFF $ 1 5 1 Xi: O K nds Me1 UIIIMI UCIilL1.ORCHESTRATIONS SMALL ORCHESTRATIONS I t i n o i i Jicauel S MOOERH SOUND SERIES..l-! IN VERUQHT 311 S H l * l I I U I L I l. *DBÈ"<S WEST Coleman Hawkin s Dm GilleSDit 5 i TfE C U I W STUFF? L e t t e r Young s IUMPIN' WITH STWHOHT SID STANDARD D A N C E ORCHESTRATIONS JUTUMN CChCEWC U %tl w 'i- !IfW i T i h i .

Kim (No. 2) arlie Parker VERVE 8005/MGM 4949 0 1956 ATLANTIC MUSIC CORP a 1978 ATLANTIC MUSIC CORP All Rights Reserved .

TURN PAGE .

. 2 ) .cont.Kim (No.

" and 15 other hits." "LET T E GOOD TIMES ROLL." O H "HOUSTON.A GUITAR METHOD THAT TEACHES READING & PLAYING INSTANTLY! Endorsed by: BARNEY KESSEL JACK MARSHALL GEORGE RUSSELL Edited by Burdell Mathis Contains these solos-"THESE BOOTS A E MADE R F R WALKIN'. For: THE BEGINNER ." "TINY BUBBLES.

Cheryl y Charlie Parker SAVOY 1108 1947 ATLANTIC \IL"SIC C ~ O R P '0 Renewed .ind assigiif-d 1975-\TLA\"Tl[. MI"iIC CORP 0 1978 ATLANTIC MUSIC CORP .

L tar ^lo COUNTRY 6 U I T M Hits from the Country Field FOLKSY SONGS FOR GUITAR (Simple t o Advanced) "MTA".. s ' c 0' Beethoven 'ire. "Philadelphia l a w y e r etc 20 GREAT TUNES FOR GUITAR (Pick Style) 39 Great Arrangements by Dan fox.Hits like JDSE. . etc GUITAR SOLOS AMOR FLAMENCO BAJA BODACIOUS & ANGRY GENERATION BULLERIAS Y CANCION TEHUACAN BOSSA GUITARRA S I X solos b i U d r r j o and chord syv. GRINGO 51 -Hits FROM THE ROMANTIC ERA Concert g u t a r solos t r a n s c r f b ~ d from L ~ u r i n d oA l ~ s ' d ]< C ^ p . Â t h lead hne SURFIN' GUITAR Surfing s o w s arranged bv I n ~ " ' i e HasHe.Hits like JOURNEY TO THE STARS 2 3 . ~ o l ~ .GUITAR FOLIOS "BOOTS" FOR GUITAR Guitar arranperr'ents . INSTANT GUITARS 2 4 -Hits like DIAMOND HEAD. featuring ''Moonlight In Vermont" OSCAR MOORE GUITAR SOLOS GUITAR BOOKS GUITAR TUTOR by Laurindo Almeida A complete Concert G'~i'3r V e t h c d THE GUITAR by Barney Kesse'i A unique guide tor guitarists .ind E.wth complete part's for Solo and Rhythm Guitar VENTURE FOLIOS Book Book Book Book like WALK OON'T RUN * 2 .1 for piano qalo .bois fi AimeiJj .

Thriving From A Riff SAVOY 2201 0 1945 ATLANTIC MU-SIC CORP 0 Renewed a n d assigned 1973 ATLANTIC MUSIC CORP @ 1978 ATLANTIC MUSIC CORP All Rights Reserved .

w 12 "'I 1 .

SAVOY 2201 Q 1946 ATLANTIC MUSIC CORP 0 Renewed'and assigned 1974 ATLANTIC MUSIC CORP a ATLANTIC MUSIC CORP All Rights Rewived .

TURN PAGE .

KO KO -- . 1 1 I . Ty ' r- 1 1 1 - 1 1 w .cont. 1 1 I * " .

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Red Cross y Charlie Parker SAVOY 2201 J = 210 1 (HEAD) @ 1945 ATLAXTIC MIJSIC CORP Renewed and ass~&ed 1973 ATLANTIC \IUSIC CORP 0 1978 ATL'4NTIC MUSIC CORP All Right? Resenwi .

My Eyes My Open~ngFarewell lamalea Say A Child In These HIIIs Song For Adam You Will From Sllverlake For Plano. Voice & Gultar .JACKSON BROWNE FOLIO S I X Songs From His Hit LP Doctor.

Marmaduke harlie Parker SAVOY 2201 0 1948 *ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP. All Rlghts Reserved .

TURN PAGE ' J .

cont. Barbados SAVOY 1108 0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .Marmaduke .

counterpoint and form.APING F By Ernst Toch An inquiry into harmony. . A complete advanced music course now being used by many leading colleges as their text book. melody.

Perhaps By Charlie BLUES SAVOY 2201 4 E7 (D- G7) A7 B- E7 ' ' 19-18 VTLANTIC MUSIC CORP Renewed .ind assigned 1'976 ATLANTIC MUSIC CORP ^ ' 1978 ATLANTIC MUSIC CORP All Rights Reserved .

..a I too... .QU. . nu. l   ¥ CRITERION MUSIC CORP UW1.. . J .The Fake Book Fdr All Groups BALLADS * BLUES 0 CONTEMPORARY * COUNTRY &WESTERN * DIXIELAND * EXOTIC FRENCH FOLK * ITALIAN JAZZ ROCK * LATIN * NOVELTY POLYNESIAN (HAWAIIAN) * RHYTHM PICTURE SHOW TUNES 0 WALTZES * XMAS - - - C l B f l .

2).page 76 0 1945 ATLANTIC M U S I C 'CORP ~siigntd 1973 ATLAM-LC MUSIC CORP 0 Renewed 0 1978 ATLANTIC MUSIC CORP All Rights Reseivecl . 1) VERVE 8840 For Melody see Now's The Time (No.Now's The Time (No.

with timing sheets. orchestra sketches and orchestrations. arranged and recorded for a motion picture. featuring an actual score that was writtern. .N By Frank Skinner A complete course in scoring for motion pictures and television.

2 ) SAVOY 2201 BLUES (HEAD) D7 1 '3 1945 ATLANTIC M U S I C CORP All Rights Reserved 0 Renewed and assigned 1973 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP .w ' s The Time (No.

.

Buzzy SAVOY 2201 BLUES rn G7 0 1947 ATLANTIC MUSIC CORP 0 Renewed'and assigned 1975 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP. All Rights Reserved .

.

All Rights Reserved .Billie's Bounce (also k n o w n a s BILL'S BOUNCE) B y Charlie Parker SAVOY 2201 0 1945 ATLANTIC MUSIC CORP 0 Renewed and assigned 1973 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP.

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Chasing The Bird By Charlie Parker SAVOY 1108 0 1948 ATLANTIC MUSIC CORP 0Renewed and ass~gnecl 1976.ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .

.

r . 0 1948 ATLANTIC MUSIC. CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .Blue Bird By Charlie Parker BLUES x 125 SAVOY 2201 .

.

Ah-Leu-Cha (also known as AH LEV CHA) harlie Parker SAVOY 2201 4 1 A7 I M I L E S DAVIS 0 Renewed and 1948 ATLANTIC MUSIC CORP assigned 1976 ATLANTIC MUSIC CORp 0 1978 ATLANTIC MUSIC CORP All Rights Reseryed .

Piano TURN PAGE .

Ah-Leu-Cha . C#21 (Bass & Drums) .cont.

Klaun Stance By Charlie Parker SAVOY 2201 8 TURN PIKE 0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP ' All Rights .Reserved .

.cont. .Klaun.

.

.ard Board VERVE 2501 £1956 . ~ ? L A N T I C NIUSIC CORP 0 1978 ATLANTIC NlUSIC CORP All Rights Reserved.

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a Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .Bird Gets The Worm harlie Parker SAVOY 2201 Bb- 01948 ATLANTIC MUSIC CORP.

.

.Bird Gets The Worm .cont.

ANTIC MUSIC CORP 0 1978 ATLANTIC h4USIC CORP All R~ghts Reserved .Segment By Charlie Parker VERVE 8009 TURN PAGE 0 1957 ATL.

Segment .cant* .

.

Visa
B y Charlie
VERVE 8OOOfVERVE 8009

0 1953 ATLANTIC MUSIC CORP 0 1978 A T L A N T I C MUSIC CORP

All Rights Reserved

Passport
VERVE BOOO/VERVE 8009

SOLO BEGINS

C 1953 ATLANTIC MUSIC CORP

0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

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Another Hairdo SAVOY 2201 0 19.18 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .

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'VERVE 2515 @ 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .Back Home Blue VERVE B840/VERVE BOOOIVERVE 8010.

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Back Home Blues harlie Parker VERVE 8840/VERVE 8000/VERVE 8010/VERVE 2515 @ 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .

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Bloomdido ark? BLUES VERVE B840/MGM 4949/VERVE 8006/VERVE 2501 0 1933 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP All Rights Reseivecl .

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The Bird VERVE 2501 Be} E7 0 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved. .

Ill .

Steeplechase SAVOY 2201 0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP All Rights Reserved .

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Diverse VERVE 8009 1 0 1957 ATLANTIC.MUSIC CORP 0 1978 ATLANTIC MUSIC CORP ~ l Rights Reserved l .

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.cont.Diverse .

Merry-Go-Round By Charlie Parker SAVOY 2201 0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP All Riohts Reserved 0 1978 ATLANTIC MUSIC CORP .

cont.Merry-Go-Round . .

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My Little Suede Shoes VERVE 8000/VERVE 2515 SOLO 7 0 1956 -ATLANTIC .fUSIG C O R P All Rights Reserved .MUSIC CORP 0 1978 ATLANTIC h.

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Relaxing With Lee y Charlie Parker VERVE ~ ~ ~ O / V E R O O ~ / V E R V2501 ~ VE E 1 I 0 1953 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP ~ l Rights Reserved l .

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VERVE 8840/VERVE 8009/VERVE 2501 1977 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP All Rights Reserved .

J TURN PAGE .

.Blues (Fast) .cont.

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Shawnuff nd John 'Dizzy' Gillespie PHOENIX 17 JAZZ 0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC COHP All Rights Resewed .

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Leap Frog VERVE 8840lVERVE 8002lVERVE 8006lVERVE 2501 F#- B7 Cj 1956 ATLANTIC MUSIC CORP All Rights Reserved 0 1978 ATLANTIC MUSIC CORP .

. TURN PAGE . .

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Leap Frog .cont. .

MUSIC CORP All Rights Reserved .wd .M U S I C C O R P 9Renewed .-is>iqned1976 ATLANTIC MUSIC CORP 1978 ATLAV~K"'.SAVOY SJL2201 (-1 7 8 T 1948 ATLANTIC.

CA 90028 .98 by mail CRITERION MUSIC CORPORATION 6124 Selma Avenue.CHARLIE PARKER FO ecorded by The Paul Smith Trio Cassettes available $8. Hollywood.

Warming Up A Riff SAVOY SJL2201 ' 1949 AATLANTICJIUSIC CORP 0 Renewed and assigned 1977 ATLANTIC MUSIC CORP 1978 ATLANTIC NIUSIC CORP All Rights Reserved .

6 ' TURN PAGE .

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VERVE VE2-2512

(0 1956

ATLANTIC MUSIC CORP All Rights Reseived

0 1978 ATLANTIC MUSIC CORP

CHARLIE PARKER FOR PIANO Recorded by The Paul Smit Cassettes available $8.98 b

CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, CA 90028

Ballade
By Charlie Parker
VERVE MGV8002

0 1958 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved.

W.W

!hen we 6iin set I ~ Piip T I c a l e g o r ~ e sand hsl sut)st~!ute scales beneath each heading ~ as Each category begins w l h lhe s c a b mosi o^o^ely ceÂ¥3en1bItn!he c I w 1 0 symbol gwen lo the l e f l The scales are ot arranged according to (hp d e ~ i e r fitsbonance l h c y produce 'n ieta11on !o the basic chord 5ouf1d Scales near !he top o f each cafego. ( " à ˆ . -Â¥ ($2) W H U H V U W - . ale .l!r% and c n c r d i more than an. ICES s - CHORD I N C 3. 1~. i r e u s a b l e ' ) * R a i s e t h e f i f t h cone o f clie 'icale 5 s t e p D o a i n a n t L y d i a n s c a l e ( c m [ ~ t ~ . / t k & 1 7 5 ) ~ U H W W W w H Half d i m i n i ' i h ~ d s c a l r i c h o r d ( L o c r l a n v c d l ~ r L o c r l a n H ? ) o H W W H W W W - - - ennui) 1s c C C E b Gb A 6. espeCia1ly jazz and pop. 1 Y ~ c h .3 U \I 11 -1 U ~ wdt h f ub ¥ t a~ nU ll U 11 W H W H i ~ p CCEbFCABbC C D t b f C A b à C D E b F C h à C tb F y f G U b c D f h F cb hb ˆ b ˆ C A B CHORD SYMBOL GUIDE FOR S C & L S Y I - H H a l t s t e p .LF STEP BASIC CKOllB 5 m e IN KEY O? c xiizG?Y C O D IN C HR CLGtD C t ' C U D C?CXU C F C à ˆ B C I G S D CEGUD C t C t D 2 -1. elc ) represents a series o l tones which :he improvisor can use when Improvising These series o f lones have traditionally b e e r calied scales The scales listed here are the ones I most oftefl hear musictans play Ali example. F i C. C-.> t4 b +5) D l m i n l a t i c d s c a l e b e g i n n i n g wtc!i $1 h a l f -.ilf t u n e s ..d o r i a n m i n o r ) D E F/ C A B b C ( L y d i a n d o m i n a n t s c a l e ) 0 E f f G i Sb C (Whole t o n e s c a l e ) Db Eb E Ff C A S b C ( D i n f n i i h e d s c a l e b e g i n n i n g w i t h h a l f acep) Ob Eb (. i s I z ct h e 9 c h . l i l x o l v d l a n ) M i n o r a c a l e / c h o r d ( O o r i a n ) ( a i i 5c. uses ma)or. these fige scale /ami/fes 3 5 bei. i ~ .. a fvarlelv of scale choices which can b e used over o a n y chord-malor..flber down the '1st wltt become rncreasing!y terse or diss?nar'l Each pIayf>r 1 5 :.Ize the b 9 .Ged i n the key o f C so y o u car1 have a frame of reference and l c a n compare the simdcirities and difference:! You arc u r g ~ du write them in rill Iwelve keys and practice thc-rn in all twelve keys .. :-r & .iing a scale to any of the 'welve keys AH ot the scales l i f t e d i n the scale stILibus are l. C7 -"i#V 7th SCALE U M Â¥'Â¥. W a Whole 5 t e p V 7 means A Oomtntint 7 t h s c a l e or c h o r d -3 * t h r e e h a l f steps (minor t h i r d ) Melodic Mtnor(as.tze clip m a j o r 7 t h 6 ? t h K d o n l t emphasize t h e 4th) = Major Â¥icalr/ihcr w l t h raised 4th (Lydian) U W U ti V V H * Dominant 7 t h scs!c/chord ( d o n ' t rmphasize t h e 4 t h ) ( .0 Sgr\an m!r?or sc. HINOR S C U X CHOICES SCALE HAME Minor (Dorian) Pure Minor U 4 1 CON<TRUCTlON 1 ?&hLF IN KFf OF C CHORD lN C WHUUUII~ UIIWWHUU UIIUWUUII .SCALE SYLLABUS E a c h c h o r d symbol (C7.ir'o f ~ i i l l e r n shstad i n Volumes 1 2 or 3 can b e applied to the Ieaining a n d a'.f S b C ( D t B i n t i h c d w h o l e t o n e scale) ( H a l f diminished a c a l e / L o c c i a n a c a l c ) ( L o c r l a n <ih.cending) Blurs Scale u ~ ~ t ~ h Harmonic 'Â¥iino Phrygian kçVv11-31 Hb'ugIIVU C D E ~ F C A ~ B C CObEhFCAbBhC CHORD 7à C c A fl+4 V7 + 774-4 V7t - V7h9 V7+9 6 Â¥ * M a j o r s c a l e / c h o r d Cempha!. any scale you want n l o learn should be (ransposiv5 and pritcticed in t i l l twcl'de key^ The column o n whole a n d h d f f step cortstruction that I have listed l o r pach 5cale o n the syllabus should p r o w helplul when trarispo-.-m . i 6 t h ) !J 14 W H W H W -" W w l c tone . dominant 7th ar./th s c a l e ) D Eb F G A Bb C ( C m i n o t . .( o!her Scales and chords used less o f l e n are lhe haif diminished and diminished I! Â¥A agree o?.ccp 1 W 1 W ! W H W 1 1 i D l m l n l s h e d w h o l e cone s c a l e (cniphas. Co. EXAMPLES' C c2+4 C7 C- C7+4 C?+ --.i c a i c / c h o r d W W U U W U ( t i l l s s c a l ~1 i .Â¥ miidc of t f n s ~ o nand celease Scale tones produce lension or lhey produce IP ~ relaxation Ttie improvisors ability t o c o n u o l the amount dnd frcquericy o f tension a n d release will i n large measure determine whether tie i s ' i u c c e ' l s l ~ l in communicolinq !o the I'stenef Remember--you the player are also a listener1 A n y of (he various praclicf' procordures .igers become comfortable w i f t xl! the I o ~ I .ig the most predominant. minor dorrrnsn! ? t h half d"r-115hed 3 r d dtrnmtshed Western music... ?the scale Music .'. wdy down t h r list to the more dissor'aql or 1c"S:on producing scales You should work with a new i.similalion of any o l Ih'e scdlo clloices l 1 5 l ~id this SCALE S Y L L A B U S Needless t o say.Er - OF C COD I N HR CD?CABbC li D m 7th scale but don't each~iatxet h e t h i r d CPCBbD W -1VU11U C D C D C C C C CA9 C7+9 Ctf CW2 C C E F C A B C ( d o n ' t emphasize t h e 4 t h tone) E FI' G A 5 C ( L y d i a n s c a l e ) D E F C A Bb C (Oom.-y w ~ l l $r>urrJ m ' i d cr conso"an1 and T a l e choice"..vr[ h e m m ~ r o v t ? . SCALE HAW .-irp c w o ( à ˆ 2 s c a l e ) I = C Db Fb F Cb Ah S b C C D Eb F Cb Ab Bb C . k r y o l C so you can compare lhe scale construction and s~milSr~Iies This SCALE SYLLASIJS 's ~ n t c n o c uto &.K.rged to slarl wilh !he scales a1 !he l o p a r d wilh praclice and experimentation gradiiacly work hi. SUB U -& -CONSTRUCTION -11 S C A l P IN .n lhf.ca'c sound o n your instrument unlfl your cars a n d fi.

For E Flat Instruments * Transcribed Exactly From His Recorded Solos AH-LEU-CHA ( A H LEV C ANOTHER HAIRDO ANTHROPOLOGY AU PRIVAVE (No.GO-ROUN OHAWK (No. 1) OHAWK (No. C.ISBN 0-7692. 1) RED CROSS SI SI STEEPLECHASE FROM A BzIFF VISA U P A BIF SUZTE . 2) MOOSE THE MOOC Y LITTLE SUEDE SHO NOW'S THE TIME (No. 2) BACK HOME BLUES BALLADE BARBADOS BILLIE'S BOUNCE (BI T H E BIRD BIRD GETS THE WOE BLOOMDIDO BLUE BIRD SLUES (FAST) BLUES FOR ALICE BUZZY CARD BOARD CELERITY CHASING T H E B CHERYL CHI CHI CONFIRMATION CONSTELLATION COSMIC RAYS DEWEY SQUARE DIVERSE DONNA LEE K. 1) KIM (No. BLUES KIM (No. 1) AU PRIVAVE (No. 2) KLAUN STANCE KO KO LAIRD BAIRD LEAP FROG MARMADUKE ERRY.

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