David Baker

It is safe to say that David Baker is the country's preeminent jazz educator. His performance background as an instrumentalist includes many prominent jazz groups, as well as university and major symphony orchestras. He has taught for over twenty years, including public school, college and private teaching, and he has been on the Music Faculty of Indiana University since 1966. His compositions number in the hundreds and run the gamut from jazz combo to symphonic works of major proportion. His music and books on jazz and instrumental pedagogy, jazz improvisation and solo transcriptions, and Black music and musicians have been published by down beat, Studio/ PR, Associated Music Publishers, Prentice Hall, Creative Jazz Composers and many others. His most recent publications, The David Baker Jazz Monograph Series with Charles Hansen, are definitive stylistic analyses of some of the jazz giants of our times. 8092




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(This is absolutely mandatory in the case of bebop tunes whose patterns. In imitating a particular composer the neophyte must learn and assimilate the harmonic. a genealogy. biographical data. 8092 . For instance. as well as actual transcriptions of important solos. a list of innovations. given a particular set of musical options..2 Foreword In recent years with proliferation of transcribed solos arid the growing awareness of their value as teaching tools it has become apparent to many jazz educators that simply memorizing a solo and playing it is not maximizing the potential of the technique as a learning experience. It seems to this writer that the jazz player might profitably adapt an approach similar to that of the budding composer in learning his craft. With that end in mind this set of monographs has been designed to provide a modus operandi for studying. and rhythmic language of that composer. melodic. In many respects the jazz improvisor is a composer and as such might profit from being exposed to the same regimen and disciplines as a composer per se. Bartok. imitating and assimilating the idiosyncratic and general facets of the styles of various jazz giants throughout the history of the music. these monographs represent an attempt to place the study of recorded solos in a more meaningful context. By the inclusion of in depth analysis. as well as the tunes on which they are based. selected discography and bibliography. Stravinsky. This type of learning experience becomes doubly important when the composer under scrutiny is one of the giants who in one area or another is responsible for transforming the aesthetic. Although a model styles and analysis work sheet is provided the reader may want to modify it or design another one which fits his or her specific needs. analyzing. melodic lines and harmonic structures comprise a substantial portion of the vocabulary of every contemporary jazz musician). in any given period a handful of innovators is responsible for introducing new concepts into the music or simply reinterpreting or reshaping the extant language consistent with imperatives of that time. Ellington and others. He must be able to project in a reasonably accurate fashion what that composer will do. In any event the aspiring jazz player is encouraged to completely dissect the improvisations. One' such discipline has to do with learning to write or play by imitating various models. Virtually every composer has gone through the stage of writing pieces in the style of Bach. etc.

4 Chord Type Scale Form Dominant 7th (~9) 135~7~9 Dominant 7th #9 1 35 b7 #9 Diminished 1b2~3~3#456b78 Diminished 1 b2 b3 ~3 #4 5 b7 8 Diminished whole tone 1 b2 b3 q3#4 #5#68 Dorian 1 2 b3 4 5 6 b78 Blues 1 b3~34~45b78 minor pentatonic 1 b34 5 b78 diminished 1 b2 b3 ~3~ 56 b7 8 diminished whole tone 1 b2 b3 q 3 #4 #5 ~6 8 minor pentatonic 1 b34 5 b78 Dominant 7th ~9 and #9 Dominant 7th b5 and b9 Blues 1 b3 q3 4 #45 b78 diminished 1 b2 b3 q3 #456 b7 8 diminished whole tone 1 b2 b3 q3 #4 #5 #6 8 minor pentatonic 1 b34 5 b78 Blues 1 b3 q3 4 #4 5 b7 8 diminished scale 1 b2 b3 q3 #4 56 b7 8 Dominant 7th b5 and b9 13 b5 b7 b9 #5 and #9 13 ~5 b7 #9 b5 and #9 13 b5 b7 # 9 #5 and t7913 #5 b7 b9 (and/ combination) minor pentatonic 1 b34 5 b78 Blues 1 b3 q3 4 #4 5 b7 8 Half-dlrninished chords Chord Type Scale Form (half-diminished (¢7) or minor 7th (~S) 1 ~3 b5 b7 7th Locrian 1 b2 b3 4 ~5 b6 b7 8 Locrian #2 .1 2 b3 4 bs ~6 b7 8 diminished (start with whole step) 1 2 b3 4 #4 #5678 blues 1 b3 ~3 4 #4 S b78 diminished chords diminished 7th (07) 1 b3 b5 6 8092 diminished scale (start with whole step) 1 2 b3 4 #4 # 56 78 .

tonic (I) Function Dorian Natural Phrygian 1 2 ~3 4 56 b78 minor 1 2 b3 4 5 b6 b 78 minor 1 b2 b34 5 b6 b7 8 Ascending Melodic 1 2 b3 45678 Harmonic Blues minor 7th (II) Function Dorian minor minor pentatonic 1 2 b3 456 1 2 b3 4 S b6 7 8 1 b34 5 b7 8 b79 1 b3 b3 4 #4 5 b7 8 Ascending melodic minor 1 2 b34 5 6 7 8 Harmonic minor 1 2 b3 4 5 b6 7 1 minor Pentatonic B Iu e s 1 b3 3 4 diminished 1 b34 5 b78 #4 5 7 8 (start with whole step) 1 2 b3 4 #4 #5678 Dominant Family Chord Type Scale Form Dominant 7th unaltered Mixolydian Lydian 1 23456 b78 b7 8 1 35 b7 9 Dominant 1 23 #456 1 23 S 6 8 Major Pentatonic minor Pentatonic Blues Dominant Dominant 7th #11 7th bs..p 78 q 34 #4 minor pentatonic Major pentatonic 1 b34 5 b78 1 23568 minor Family Chord Type Scale Form minor. #5 or both 1 b34 5 b78 5 b78 1 b3 ~34~4 1 3 S b79 #11 1 3 bs 1.7 1 3 #5 b7 1 3 (b5 #5) ~7 Lydian dominant 1 23#4 S 6 b7 8 Whole Tone 1 23 #4 #5 ~6 .3 Relationship Of Chords To Scales Major Family Chord Type (I) Scale Form Major - 1 35 7 9 9 ~11 911 " 13 Major 1 23 4 56 7 8 1 2 3 ~4 ~5 6 7 8 Major (~4) 1 357 Lydian 1 23 #45678 Lydian Augmented Augmented diminished Harmonic blues 1 b 3 1 #23 5 ~6 7 1 Major (~4 ~5) 1 3 #5 7 9 ~11 Major (\:>6~9) 1 357 Major Major Major Major Major 1 3579 1 ~2 ~3q3 ~4 5 6 b7 8 Major 1 3579 1 3579 1 3579 13 579 1 234 5 ~6 78 5.

educators. such as a tune on the album where the key is known.. The following aids to transcribing are offered: 1. etc. etc. a feeling for swing. either written or played. Use common sense or some other referential. authors. nurse. sister. interpretation. speak German..B. 5 Transcribing Solos From Records One of the undersirable consequences resulting from a surfeit of teaching methods. Unless the budding jazz player isin an aural environment where the language of jazz is spoken (played). How else to stay abreast of the myriad. they can never supplant hearing and imitating the spoken word. Although the ends may be different and actual transcription. While books. (before jazz method books) have forgotten that we learned our craft by playing along with and. It is lamentable that we teachers. sometimes violent. improvisation books. again. For the young jazz player. Subtlety. are all things that are most effectively learned through the repeated hearing of those players who first defined the music. different approaches. analyzing. and transcribing are equally valuable if growth is to be continuous. etc. listening to. mother. rhythmic. father. he will not learn that language. every good jazz player has a mandate to listen in a disciplined fashion to the music of his contemporaries. brother. I .J. he speaks French. correct use of inflection. as a consequence. and performers from the period B.M. of record transcription. hence the value. Adjust speed of turntable to a desired pitch. The situation for the young player is not unlike that of a student learning to speak a foreign language. A child growing up in a French-speaking environment does not. and playing along with records is an absolute must if he is to learn the language. and melodic ideas are more easily grasped when repeated listening is possible. changes taking place in this continually evolving music? Sometimes new techniques. its syntax. style. For the advanced jazz player. Check turntable for key (pitch).studying the solos of our jazz heroes. listening. may not take place. and other educational aids has been the virtual disappearance of the player who accelerates learning by playing along with records. While no rational educator would advocate a return to those times when recordings were the principal means of learning. analyzing. it behooves us to re-examine the very important role that record transcriptions can and must play in the development and continued growth of jazz players. Even our native language is learned best through imitation of those around us. grammar inflections. flash cards and other visual aids are invaluable. new harmonic.

Listen to entire solo for: a. If a rhythm or pitch is troublesome. If necessary. sing. 3% ips. tempo. then new phrase as before. transcribe it as though in 4/4 time. dynamics. i. Record solo on 7112 ips on tape (two levels beneath). make initial transcription at half speed. etc. form. slow to 1 V2 ips and stop on the note or rhythm group. c. feel. 5. Once the solo is complete.e. etc. 3. feel. slurs.6 2. transcribe one measure of phrase at a time. Sometimes. in finished form. length (number of choruses) b. a. 8092 . etc. A certain degree of predictability usually exists to the attuned ear. verify at half speed by playing along on your instrument. If possible.). If faster than moderate tempo. Play preceding phrase. changes 4. Try to record from at least one chorus before (safety with changes. write. general shape. If a double time persists. educated guesses might be made based on melodic or rhythmic practices au courante. 6. If a piece is particularly complex rhythmically. accents. b. Play at the actual tempo for missed notes. transcribe the first beat in each measure. Add inflections. Verify at the actual tempo. etc. you might bar off the entire solo. Listen. try to solve it through repeated listening and isolation. then beat 3 later filling in missing notes.

Goes to New York and washes dishes at Jimmy's Chicken Shack. 1927 1931 1932-33 Family moves to Kansas City. Kansas to Charles and Addie Parker. Joins Harlan Leonard's Band. born in Kansas City. Joins the Billy Eckstine Big Band and records for the Deluxe label with the band. Escapes serious injury in road accident that claims the life of George Wilkerson. Biographical Sketch 1920 August 29.. Joins Andy Kirk's Band and then joins the Earl Hines Band. Max Roach and John Simmons.7 CHARLES CHRISTOPHER PARKER.". 1937 1938 1939 1940 1941 Joins Jay McShann's Group. Thelonious Monk. Rejoins Jay McShann. 1942 1943 1944 Joins Noble Sissie's band on Mid-West tour. . Missouri. Jam session at Minton's in Harlem with Dizzy Gillespie.. Meets Dizzy Gillespie at Booker T Hotel in Kansas City. bassist with the Deans of Swing. 1934 1936 Plays regularly with the Deans of Swing. \ g. Charlie Christian. 1945 Works 52nd Street clubs and begins association Davis.. Joins Deans of Swing with Laurence (88) Keys as leader. Marries Rebecca Ruffin. Makes first combo recording with Tiny Grimes.:az GiC 2£2* . First recording for Decca Records with McShann. . Graduates from Crispus Attucks Public School. Returns briefly to Kansas City.:. Second recording date with McShann. Bud Powell.. Marries Ge raldine Scott and joins Sir Charles Thompson. Joins Oliver Todd's Hot'n Tot Orchestra in Kansas City. Receives his first Saxophone and begins study at Lincoln High School. . . Jr. with Miles 8122 £1£"1& 4:. Kenny Clark. Joins the George Lee Band.

1955 Works at Bee Hive in Chicago. last public appearance with Kenny Durham. Attempts suicide. Plays in film of JATP made by Norman Granz. 1952 1953 1954 Son. Charlie Mingus and Art Blakey at Birdland in New York City. dies. (Famous Lover Man session). Bud Powell. September Baroness Pannonica de March 21. Pree is born. March 4 . Bai rd is born. Tours as a single using local rhythm sections.8 1946 Plays at Billy Berg's Jazz Club in California with Dizzy Gillespie. New York City. 1947 Suffers a breakdown and ends up in Camarillo State Hospital. 8122 Orchestra (See newly 1 . March 9th to the home of Koenigsworter en route to Boston. Returns to New York City to work the Three Dueces Club.5. Marries Doris Sydnor. Tours Europe. . 1951 Tours as soloist with Woody Herman released album). 1948 1949 1950 Signs with Norman Granz and Verve. Twice admitted to Bellevue Hospital (September 28) for psychiatric treatment. Funeral at Abyssinian Baptist Church. Opening of Birdland Club in New York City in honor of "Bird:' Records with String Group. Daughter. First musical association with Clifford Brown. Town Hall Concert. March 12. Appointed to teaching staff at Harnett Studios.

growls. rx. like Louis Armstrong and Lester Young before him. . The use of passing chords (see example 2). and a handful of others. cries. Charles Mingus has said. chtr~) I """I h . slurs.119 c~o.! ~I 2. 8~ i7 . shakes. ""I (pa~. The use of higher intervals in chords (see example 1).. and link one chorus to another). slides. Thelonius Monk. "If Charlie Parker were alive he would think he was in a house of mirrors:' His innovations manifest themselves in virtually every aspect of music. II-V formulae (the progression of a minor seventh chord resolving up a fourth or down a fifth to a dominant seventh chord) and other musical adhesives (example 5). along with Dizzy Gillespie. helped to broaden the harmonic pallet via: 1. moans. His influence extends into all areas of jazz and all media of jazz expression. Virtually every commercial.. It is no surprise to the jazz intelligentsia that Parker's influence has not been limited to jazz music. A more extensive use of linking devices such as turnbacks (usually a two measure progression consisting of four chords used to create movement. lib . 77-434 .. He was instrumental in broadening the emotional expressive pallet. Charlie Parker The Innovator 9 Charlie Parker. He. i. bends. 6. varied vibrato. shouts. including composition.') (poHi.. He effected changes by adapting for instrumentalists techniques long assumed to be exclusively within the province of blues vocalists. cycles (a root movement of ascending perfect fourths or descending perfect fifths). had a pervasive influence on all music. 5. grunts. jingle. rips.e. help define the form of the composition. TV background and much contemporary European derived art music owes some demonstrable debt to Charlie Parker.. Greater expressive use of dissonance.

he further expanded technical options.. In the area of rhythm.. I. ~. ..\. he perceived of sound as an extension of the idea to be expressed.. borrowed from his idol l!ester Young (many verbatim (3)...""" '. unifying techniques with a maximum of expression. consonant vs... He helped to prove that a greater technical and physical range can result in a broader range of emotion and feeling. Like Louis Armstrong in an earlier era. '. a real style could emerge. He further extended the options through the use of polyrhythms establishing a basic conflict between soloist and rhythm section. 1944 ·1955 Many recordings but Blues. He showed that.' . He employed a far greater variety of rhythms than any soloist who preceded him. high ve. perhaps we should first examine the characteristics of Bebop if we are to understand the music of Charles Christopher Parker.)..lY . . Jr. :~. ". Predictable and worked out solos planned well in advance.~>"'*'~ . and I Got Rhythm. By presenting an alternative to existing practices.. I've Found A New Baby. BEBOP In as much as Bebop is considered the language of the common practice period of contemporary jazz.:!". F.'. i ' ." .. Charles Christopher Parker. used keys are Bb.. 1.~~ I \ 1 J ":::1 :j. predominate. Parker was partially responsible for establishing the eighth note as the basic time unit of the jazz solo. low.. " .1~:"'J'~ t.'. ~ . I~tll I 11 I")' . soft. 1 ' I \. dissonant. '. C.. .' : '>:i:. . (2). ~ . His solos were relatively uninfluenced by his musical environment...' " '~1(.~~~~7J~~:: t i:". 6122 . Hootie Blues and The Jumpin' Blues. A fairly fast vibrato. I J:' \ '~~. motion).:. (4). slow... static vs. like Armstrong and Young. Moten Swing. More than any jazz soloist before him he showed the possibilities of combining long-range.~'.>.". Sepia Bounce.".. and Charlie Parker and Dizzy Gillespie are considered the chief architects of the music.'t. Quotes from older melodies. .- 1:.'" I. harmony. fast vs. . They include such compositions as Lady Be Good.n. by mixing melody. j. he showed that it was possible to assimilate complex techniques into improvisations without sacrificing expressiveness. PERIOD BREAKDOWN 1940·1943 Most of the early recordings were with the Jay McShann Band in 1940-1942.'!..:.:. and Eb Major.. The most Once his style was established it underwent no substantial changes.' '" I:~ .1!f' rf J . Motives quotes).. rhythm and tone as inseparable components.g.'.10 He also made use of a much wider variety of tonal possibilities and a greater use of contrasting elements and efforts (e. He was perhaps the first real virtuoso of jazz. elegant.. and the realization of lines of great rhythmic subtlety. loud vs. Honeysuckle Rose. Characteristic of these early recordings is: (1). harsh vs.

. impassioned). coloring. Piano String Bass Drums (complete) (sometimes Guitar) 11.' crisp snare drum figures enhancing. The "comping" is fragmented and jagged. Rhythm section. Accompaniment becomes fragmented. 6.. Polyrhythm became an important factor again. Instrumental lines with longer melodic phrases using odd phrases. producing a much more legato sound. Asymmetrical solo construction. Time keeping role shifts to the Bass. 11 Characteristics of Bebop 1945 ·1960 1. shaping. (Scales didn't always line up to the same degree of specificity as now). harmony. Chords serve as the improvisational non-idiosyncratic referential rather than melody. Drums . Emphasis on clean piano like execution. trombone. 7.The rhythmic ostinato shifts from the bass drum to the ride cymbal. Greater independence between components of the "set'.) As a practical consideration. Becomes important solo instrument. 8. Poly-rhythms are reintroduced into the music.more fluid lines. 9. Collective improvisation rhythm section. Hot improvisation (fast. through the use of longer less thumpy notes. accents. etc. Bass drum drops "bombs:' plays accents. virtuosity demands an unencumbered sound. comments on the time. trpt. 10. Piano ~ no longer imitates an orchestra. rootless voicings.q. String Bass .) exclusively between the soloist and the 2. High incidence of substitution and altered chords. chords become sparse and the instrument is used in a much more percussive manner. intense. Guitar "camping" ala piano.. 5. Very wide dynamic range. improvisation 4. The emphasis was more on content than sound. Duplication dispensed with. toward more florid and imaginative lines via drops. repeated note lines are gradually dispensed with and the lines become melodic and diatonic through the use of leading tones and scales. a trend toward vibratoless sound (reducing the latitude and flexibility of sound production is another Western concept. each instrument assigned a basic and essential function. solo. melody. Legato lines. answering and articulating to the line. 8122 . (e. 3. no stride piano. Players followed. Often riff-like melodic comping. Generally etc.

providing a broader harmonic base.whole family and entire range. more effort to make solo lines cohesive by linking them together with turnbacks. consequently making possible a greater variety of note choices and a higher incidence of chromaticism. Instrumental ranges. Harmony gained equal footing with melody and rhythm (Western influence). Scales . chromatic harmony. 17.based on odd intervals.11. Trumpet . reworked standards. 11--V7. Iydian dominant. scalar rather than chordal (head statements were generally unison because the increasing harmonic complexities made counterpoint and secondary lines less feasible).G to double C Trombone . Harmony 9.the "break'. diminished. Primarily a small band music. All Keys. The music moved ever closer to European music because of its emphasis on harmony and instrumental facility and the increasing use of other Western European devices. 14. Strictly instrumental in conception. dorian. Complex chords provided the soloist with a broader harmonic base. mixolydian. 19. diminished whole tone. blues. frequent modulations. 20.Major. I Got Rhythm. Tune sources oriqinals. 16. blues. 18.i to (. Technique continues was mandatory. few backgrounds. A sound instrumental technique some whole tone. a broadened concept of chord substitution came into being. pentatonic.12 12. 81" . 13th chords.rJn to 13.' quotes (interpolations). Cliches . 15. Melody . cycles and other formula. Rhythm unit Harmonic unit Melodic unit Dizzy and Bird - ttlI _ I I rII .3 V2 toA octaves Saxes . cycles. some brief introductions and endings and some unison interludes.) cJ to JJ JJj J J J j J J / .tm. to expand.

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Scrapple From The Apple). Au Privave. rips.J 3 (Ornithology. et al) is the eighth note. and glissandi was widespread and gave his playing the pervasive blues quality of the Kansas City blues shouters.. (. more varied in slow pieces. Parker's prevalent time with the usual However. Relaxin' At Camarillo. I . An Oscar Bloomdido).. Bounce. Rhythmic Patterns The rhythmic patterns.Parker's records show a wide variety of tempo choices from slow ballads and blues such as as Embraceable You = ca. Phrasing and articulation is. One of Parker's strengths was his ability to adapt his tone to the expressive needs of the musical situation.e. Virtually every Parker solo practices of the time. Perhaps. Driftin' Reed. His tone ran the gamut from lush (albums with Strings) to harsh and edgy. Chi-Chi. What Is This Thing Called Love and How High the The reader should refer to Tom Owens' excellent thesis. 315) with the bulk of his improvisations resting somewhere comfortably in the middle to fast category. for a complete picture of Parker's preferences.) 3 I .J (J (J (J The basic rhythmic unit of Charlie Parker and his contemporaries (Dizzy. 65) to frantic tempoed versions of Ko-Ko = ca.. J. Au Privave. such as Jimmy Rushing. (4) . fall ofts. Charlie Parker: Techniques of Improvisation. Au Privave. and virtually any improvisation). Visa. 355) and Constellation = ca. i Billies On A (2) (3) jlj JJJ i ) j i)j . J i)n j (in compositions such as Moose the Mooch. is in 414 time in keeping with the metric playing was essentially reiterative of the bebop phrasing of eighth notes.. i ) (Bongo Bop. Faster notes occur primarily in double time passages and longer notes primarily as beginning or ends of phrases. i. As one would expect. particularly: Moon.-. other than 8th notes. such as John Coltrane. 60) and Parkers Mood = ca. Bongo Bop.)1 j (Perhaps.J . faster art music. the _. there are few of the assymetrical groupings endemic to the playing of later saxophonists. as with virtually every other style of jazz JJJJ JJJJ '"-' and the tempo the more even the eighth notes become. most frequently used are: (1) . (5) i)JTI mIn n . of course. For Treadwell).14 CHARLIE PARKER . (See Bibliography) Tempo ..J.. His use of such varied dramatic effects as slurs. Tune Type Preferences Blues I Got Rhythm Standards..1 Dramatic Devices Parker's vibrato was slow and narrow and quite even. growls. Bud Powell.

The examples beginning of page 59 represent some of the most frequently used phrases. John Coltrane. and with great ease. Lester Young. 8122 . employed the entire normal register of the saxophone. most solos favored the middle to upperregister. Parker had a repertory of melodic phrases or "licks" which he used in his improvisations. diminished and chormatic scale and the harmonic minor and ascending melodic minor in minor keys. In general. Half Nelson. A study of the many and varied ways that Charlie Parker realized this important proqression will provide valuable insights into his improvisational technique.. etc. Iydian and locrian). H5 diminished/whole tone or 7 (#11) = Lydian dominant). the blues scale. As with all jazz musicians. the whole tone. Dmi7 G7 (807). Scale Preferences His scale preferences are the Major scale and its derivatives (dorian.V7 Patterns One of the most important progressions in music is that of a minor 7th chord resolving up a 4th or down a 5th to a dominant 7th chord. As to tessitura. e. The much referred to higher intervals inevitably produced other scales. particularly when contrasted with the next generation giant..g. H9. mixolydian. the progression is realized with the major scale and altered scales on the dominant 7th. This progression is commonly known as the II-V7 progression. Much of the success of all improvisors rests on the ability to successfully handle this progression.). 11.. = Parker also relied very heavily on the derived diminished II-V7 progressions. the Iydian dominant. many of them peculiar to certain keys and tempos. C and F Major. Lady Bird. chord in Turnbacks and cycles are used sparingly in Parkers solos and generally when the tune specifically demands their use (e. as might be expected.l 15 His use of alternate fingerings as an expressive device is much more limited than that of his idol. Parker consistently.g. (e. Key Preferences 8b. Virtually every composition written in the jazz and pop idioms consists of combinations of this progression.g. the diminished/whole tone. Harmonics are used very rarely.

Holiday For Strings.16 (All patterns are written in the key of C and should be transposed to all keys and played in all tempos. On The Trail from Grand Canyon Suite. William Tefl Overture).e.) Among Parkers melodic materials are an inordinate number of quotes.. Three Blind Mice. page 30) Parkers melodies bluesy and riff like. Don't Be That Way. and finally his own tunes. West End Blues. i. Bushel And A Peck. In his dissertation Charlie Parker: Techniques of Improvisation. classical repertory (Rite Of Spring. Kerry Dance. Other favorite places for substition are: CM7 Emi7 C C Emi7 C CM7 Dmi7 Dmi7 Ab Dmi7 07 A7 Ami7 Eb7 Ebmi7 Eb? G7 G7 Db7 Db mi7 Db? usually realized with patterns or the proper chord scales. Tom Owens observes that "Nearly all of the club recordings. Chopin's Minute Waltz. and Pop Goes The Weasle). Over -There. These quotes are drawn from such diverse sources as popular songs (The Continental. I'll Remember April. and tunes from the Jazz Tradition (High Society. i. In house settings he was less concerned with playing for posterity to avoid such a flippant attitude towards his expressive. In A Country Garden. Poinciana. Dmi7 G7 Ab mi7 Db7 (Sippin' AI Bells) or Fmi7 Bb7 (Half Nelson) (Lady Bird) (Night And Day) = The chords are usually realized with the appropriate derivatives or the diminished scale. For this progression Parker would usually substitute the same quality chords a tritone or a minor 3rd away. The Songs Is You). Habanera from Carmen. quotes occur in concert and probably more relaxed and Once in the studio he tended material:' (Vim I.. folklike and often were extremely Substitution Substitutions in Parker's playing usually occur on minor 7th to dominant 7th (II V7) progressions. The 7th (#11) chord is usually realized with the Iydian dominant scale. I'm In The Mood For Love. major scale the He would also occasionally substitute for a major chord dominant 7th (#11) a perfect 4th above. .e. Traditional melodies (Jingle Bells. (Major 7th = F7 (#11).

Blues Klactoveesedstene Klaunstance (The Way You Look Tonight) Kim (Rhythm) Koko (Ch erokee) Laird Baird (Blues) Marmaduke (Honeysuckle Rose) Meandering (Embraceable You) Me rry-Go-Rounc (Rhythm wi Honeysuckle Rose Bridge) Moose The Mooch (Rhythm) My Little Suede Shoes Now's The Time (Blues) OKiedoke Ornithology Parkers Mood (Blues) Pass Port (Blues) Perhaps (Blues) Ouasimodo (Embraceable You) Red Cross (Rhythm) Relaxin' At Camarillo (Blues) Scrapple From The Apple (Honeysuckle Rose wi Rhythm Bridge) Segment Sepian Bounce (Rhythm) Shaw Nuff (Rhythm) Street Beat (Rhythm) She Rote Sisi (Blues) Steeple Chase (Rhythm) Stupendous ('S Wonderful) The Hymn (Blues) Tiny's Tempo (Blues) Thriving From A Riff (Rhythm) Visa (Blues) . Parker's solos rarely used the original thematic material. As with most of his contemporaries. simple to complex or complex to simple. that single choruses and even subsections (8's. rather. i. Warming Up A Riff (Cherokee) Yardbird Suite 8122 ..e. Most often he drew primarily on." 17 Performance Practice Parkers solos don't usually follow any single plan for development. (patterns plus scalar melodies). Blues of course usually dictated a horizontal (one scale for many chords) approach. 16's) are most often self contained. The changes were usually realized through a combination of diatonic and arpeggiated figures. Bird Originals Ah-Ieu-cha (I Got Rhythm) Air Conditioning Another Hair Do (Blues) Au Privave (Blues) Back Home Blues Big Foot (Blues) Billies Bounce (Blues) Bird Feathers (Blues) Bird Gets The Worm (Lover Come Back To Me) Birds Nest Bird Of Paradise (All The Things You Are) Barbados Bloorndidc (Blues) Blues For Alice Bluebird (Blues) Bongo Beep (Birdfeathers) Bongo Bop (Blues) Buzzy (Blues) Cardboard Carvin' The Bird (Blues) Charlies Wig (When I Grow To Old To Dream) Chasin' The Bird (Rhythm) Cheers Cheryl (Blues) Chi Chi (Blues) Confirmation Congo Blues (Blues) Constellation (Rhythm wi Honeysuckle Rose Bridge) Cool Blues Cosmic Rays (Blues) Dexterity (Rhythm) Dewey Square Donna Lee (Back Home Again In Indiana) Diverse Drifting On A Reed (Blues) Happy Bird (Blues) Home Cooking (S'Wonderful wi Honeysuckle Rose Bridge) Hootie Blues Jumpin' The Blues K.his repertory of patterns and phrases and his ingenious use of scales and chords to construct his solos.C. It seems. increased rhythmic or harmonic activity or a combination of the three. Because of the nature of the compositions Parker recorded he tended to be basically a vertical (change running) player. Climaxes are often achieved through the use of double time.

Joachim E.' The Forties. New York 36. by Dance. Samuel B. Doubleday. David Charlie Parker's "Now's The Time. Translated by Dan Morgenstern. Lawrence O. New York: Robbins. Stan Charlie Parker Originals. Whitney The Sound Of Surprise. and Leonard Kunstadt Jazz A History of the New York Scene." down beat.' Jazz Journal. Journal of Jazz Studies. Stanley. New York: Lippincott. Burnett Essays On Jazz. " in Nat Hentoff and Albert McCarthy. Baker. LeRoi Blues People: Negro Music In White America. ed. New York: Stein and Day. Transcriptions.18 Selected Bibliography Anonymous Charlie Parker's BeBop For Alto Sax." down beat. Feather. From Satchmo To Miles. The Book of Jazz. Jim "Bird in California'. New York: Bonanza. New York : Criterion Transcriptions. Dizzy. The New Yorker. compiler A Discography Of Charlie Parker. Berendt. "Bird Still Lives.Y. Don "Bird In FlighC' down beat. 8122 . Charters. Jazz: Bird." down beat. New York: Barnes. Gitler. Garden City." solo. Gillespie. New York: Morrow. Ira "Bird And The Forties. Transcriptions included. N. James. New York: New York. Jazz Masters Of The Forties. and Gene Lees "The Years With Yard. ed. Trancriptions included. Charlie Parker. Davies. Rev. Knudsen. Jazz Era. The New Jazz Book. New York: Dutton. "Ornithology: A Study of Charlie Parker's Music (Part One) Journal of Jazz Studies. Vim. New York: Bonanza. Burns. Dinosaurs In The Morning. Harrison.(reprinted) down beat Music Handbook '77 Balliett. New York: Morrow.' Jazz Journal. 2 #2. Jazz. New Sounds in Modern Music. 48th Street. Jorgen Grunnet. Transcriptions included. Gordon R. Transcriptions included. New York: Forum. Copenhagen: Jones.. London: Sidgwick & Jackson. Vim. 2 #1. Heckman. Jepsen. compiler "Charlie Parke r Ch ronoloqy:' Discographical Esposito. Leonard Inside Be-Bop. ed. "Ornithology: A Study of Charlie Parker's Music. Transcribed and Annotated David Baker . 111 W. Black Music. Rutgers Institute of Jazz Studies. The New Edition of the Encyclopedia of Jazz.' Jazz Journal. New York: Macmillan. Max "Charlie Parker. Applebaum. London: MacGibbon and Kee. Mark "Bargain Bird'.. Koch. Bill "Homage to Bird. Transcriptions included. Grove. Gardner.

Bird & Diz : A Bibliography. MCA. ed. "Charlie Parker and Dizzy Gillespie. Ronny S. McRae. Citadel. James S. Ross "Bebop'. Charlie "My Best On Wax'. Summer 1972 pp.' Discographical Forum. eds.' in MartinT. Vlm2 #2. Williams. Transcriptions. Tony "Charlie Parker Discography. Princeton University Pinkerton. New York: Oxford. 1974. Patrick.' in Nat Hentoff and Albert J. Berkeley: University of California Bird Lives! The High Life And Hard Times Of Charlie (Yardbird) Parker. Masterpiece. Dan. transcribed by Zito Carno and Jimmy Guiffre. 1968. A Critical Guide to the first 50 years: 1917 . Wilfrid Music in a New Found Land. down beat Music Workshop Publication. New York: Barnes. Ira Gitler and Jack Bradley. Russell. . Wilson "The Chili Parlor Interview:' down beat. solos transcribed for Bb and C Instruments. Ph. Where's the Melody? New York: Pantheon. Patrick. "Charlie Parker: A Contemporary Folk Hero" Keystone (Pittsburgh) Vim 7 #2. Frank "The Silent Theme Tradition In Jazz:' Musical Quarterly. 51-62. "The Listener's Legacy'. with Piano accompaniment. Jazz Style In Kansas City And The Southwest. The Jazz Tradition. New York: Oxford. and John S. Chicago. New York: Oak Publications. New York: Grove.' down beat.D.' down beat. ed. Robert George Bird: The Legend Of Charlie Parker. Barry The Jazz Cataclysm. Williams. New York: Knopf. Schiff. Segal. Jazz: The Transition Years.1967. Ulanov.. Phyllis Charlie Parker. reprinted in down beat Music Handbook. McCarthy. Illinois. Transcriptions included. William E..Levin. New York: Charterhouse. Owens. Charlie Parker: A Jazz Master. ed. New York. 8122 Wilson. lightfoot. Mellers. Charlie Parkers Use Of Borrowed Materials. A Division of MCA. Thomas "Charlie Parker: Techniques Of Improvisation:' Unpublished disseration. University Microfilm #75-1929. New York: Appleton-Century-Crofts. Williams. "Charlie Parker and Harmonic Sources of Bebop Composition: Thoughts on the Repertory of New Jazz in the 1940's:' Journal of Jazz Studies.' in Martin T. Albert: Harrison Max: Morgan Aun: and Oliver Paul Jazz On Record. Morgenstern. Reisner. Transcriptions. New York: New 'fork Jazz Musuem. New York: Collier. Martin "Bebop And After: A Report'. A Charlie Parker. Transcriptions. Jazz. Jazz Panorama. "West Coast Bop:' Jazz and Blues. Folklore Quarterly 19 McCarthy. Williams. Harry Jazz Styles and Analysis: Alto Sax. Ti rro. Barry "Charlie Parker: A New Legend Born:' down beat. John S. New York. Michael. Joe "Bird in Chicago:' down beat. New York: Leeds. Miedema. Parker. Inc. The Art of Jazz. University of California at Los Angeles. James S.

Le Columbia (E) 33CX1 0032/3. Blues Merry-go-round Night In Tunisia Now's The Time Ornithology Parkers Mood Ouasimodo Relaxin' At Camarillo She Rate " ! . with Dizzy Gillespie. limited edition) Charlie Parker World.105.4.68001. Decca 9236 (Hootie Blues. Yardbird. MGME C986!7 /8.68002 Groovin' High. Savoy 12152 Charlie Parker.68010 Parker. Melville. 68007. Savoy. 33. 1208 Miles. Fantasy 86003 Jazz At The Philharmonic. Savoy 12000. Verve 68000. Volumes 1. 12014 The Genuis of Charlie 68008. Lonely Boy Blues. Verve 68003. Savoy 12001 Jay McShann. (A) New Vols. 8031. 1-6.103. Pickwick S3054 Charlie Parker Historical Masterpieces. Swingmatism. 68004. Nick's and Bird on 52nd Street).A.104. Charlie Parker on Dial.P. Volumes (imports. New York. Volumes 1-6.20 SELECTED DISCOGRAPHY Charlie Parker Bird Symbols Verve VLP91 05 Charlie Parker.C. 68005. New York 11746 Bb and C Instruments with Piano Accompaniment Dizzy Atmosphere Groovin' High (Short version) Groovin' High (Long version) Hootie Blues I'll Remember April Jumpin' The Blues Lover Man A Night In Tunisia Salt Peanuts Spaces .A Jazz Master MCA Music A Division of MCA. Roost 2257 The Definitive Charlie Parker. 1. Sepian Stomp. INC. 8035. 8007. Verve 68409 The Genius of Charlie Parker. and 2 Ornithology.106 Charlie Parker Story. 2. (combining 24009 Bird at SI. 14 volumes.2. Roulette 105 The Essential Charlie Parker.Jazz Solos (Fakebook) Bongo Beep Cherokee Crazeology Embraceable You Groovin' High Just Friends K. 12009.3. Savoy 12079 Charlie Parker Memorial. 1 Society (E) SOC1 026 TRANSCRIPTIONS Charlie Parker . Saba ERO 8005. Hootie's Ignorant Oil) Jazz At Massey Hall. 102.68009. Jazz Cool (A) JCL 101/2/3 Vols. Savoy 12020 (Guild masters) The Immortal Charlie Parker. Fantasy Charlie Parke r' s Greatest Recording Session. 68006. 8006. J.T. ESP-BIRD 1-14 Echoes of an Era. 8052 (imports) Charlie Parker. Spotlite 101. Confessin' The Blues.

(ERO 8007) Groovin' High .C.Vol.MV-2030 CHARLIE PARKER WITH STRINGS Easy To Love . 4 (EOR 9031) Bird of Paradise . 3 / GROOVIN' HIGH 52nd Street Theme . 6 (EOR 9033) Bongo Beep .Vol. 4 (EOR 9031) Bird of Paradise .Vol.(ERO-8007) How High the Moon (ERO-8007) JAZZ AT MASSEY HALL Perdido .21 Charlie Parker . 2 (EOR 9029) Cool Blues . 6 (EOR 9033) CHARLIE PARKER VOL. 5 (EOR 9032) Klact-Oveeseds-Tene . 3 (EOR 9030) Bongo Bop .Vol.Vol.LFR 8849 A Night In Tunisia .Vol. 4 (EOR 9031) Bird Feathers .Vol.Vol.MV-2562 I'll Remember AprilMV-2562 BIRD SYMBOLS My Old Flame U PS-15 Charlie Parker (Solos) SPACES Jazz Solos Bootleg Fake Books Bongo Beep Cherokee Crazyology Embraceable You Groovin' High Just Friends K.Jazz Improvisation Transcriptions of Charlie Parker's Great Alto Solos Supervised by Sadao Watanabe . 4 (EOR 9031) Bird of Paradise . 5 (EOR 9032) Charlie's Wig _:_Vol.Vol. Blues Merry Go Round Night In Tunisia Now's The Time Ornithology Parker's Mood Quasimodo Relaxin' At Camarillo She Rate 8122 . 5 (EOR 9032) Out Of Nowhere .Vol.Nichion PUb. 1 (EOR-9028) Bird's Nest .LFR 8849 Hot House . 2 (EOR 9029) Cheers . CHARLIE PARKER ON DIAL Diggin' Diz .LFR 8849 SWEDISH SCHNAPPS (The Genius of Charlie Parker 118) Lover Man .Vol.Vol.

JOHN Jazz Improvisation. D. II. Ph. 1974 Music) 8122 . Chasin' The Bird (excerpts) Groovin' High (one chorus) The Jumpin' Blues Just Friends Klactoveesedstene Thriving From A Riff HODEIR.DON "Bi rd In Flight:' down beat. Chicago OWENS. THOMAS Charlie Parker: Techniques Of Improvisation. down beat Workshop Publications.24. Page 22 .' Its Evolution And Essence Transcribed Cool Blues by David Noakes. HARRY Jazz Styles and Analysis: Bloomdido Groovin' High Just Friends Now's The Time Ornithology Alto Sax.22 Saxophone Solos by Charlie Parker Transcribed by Ken Slone Edited by Jamey Aebersold Criterion Ah-Ieu-cha Another Hair Do Au Privave Back Home Blues Ballad Barbados Billie's Bounce Bird Gets The Worm Bloomdido Bluebird Blues For Alice Buzzy Cardboard Celebrity Chasin' The Bird Cheryl ChiChi Confirmation Constellation Cosmic Rays Dewey Square Diverse Donna Lee K. 32 (March 11). New York: Grove Vol. New York: Grove HODEIR. ANDRE "Jazz:' in Larousse de la Musique Vol. ANDRE Jazz. Vol. Transcribed Ornithology MEHEGAN. New York: Knopf MIEDEMA. Just Friends Koko by Noel Burch.C. (dissertation University of California Los Angeles. ANDRE Toward Jazz. Blues Kim Koko Klaunstance Laird Baird Leap Frog Marmaduke Merry Go Round Mohawk Now's The Time Oscar For Treadwell Passport Red Cross Scrapple From The Apple Segment She Rate Steeple Chase Suede Shoes The Bird Thriving On A Riff HECKMAN. 1 Paris: Librairre La Rousse Don't Blame Me HODEIR.. II.

New York: Charlie Parker Music Bongo Beep Crazeology Drifting On A Reed (Big Foot) Ouasimodo Jazz Solos. New York Moose The Mooch Ornithology Yardbird Suite and MORRIS FELDMAN.notated by Jim Guiffre and Zito Carno reprinted in down beat Music Handbook 77 also Journal of Jazz Studies. PHYLLIS Charlie Parker New York: Leeds Dizzy Atmosphere Hootie Blues I'll Remember April LoverMan Night In Tunisia Salt Peanuts from his original Record- STUART.C. Atlantic Music Ballade The Bird Celebrity Cosmic Rays Diverse Laird Baird Leap Frog K. Embraceable You . MARTIN A Charlie Parker Masterpiece down beat Music Workshop . CHARLIE. W: DORSEY Transcriber and Editor Famous Transcribed Recorded "Bird" Parker. Blues Segment PINKERTON. CHARLIE Sketcti-Orks. (Transcriber) Capitol PARKER. (Composer) Songs.down beat 37 (April 2) Page 34 . New York.' Charlie WILLIAMS. Designed for Small Groups Transcribed ings. Published by Rutgers Institute of Jazz Studies. June 1975. 8122 .23 PARKER.35.

volume. then transpose the pattern to all keys. register etc.. etc. inflections. Next he should examine the various scale and melodic patterns to ascertain how the soloist uses them.·. Next he should do the same thing with cycles. as closely as possible. ' . Next the player might take all of the II V7 patterns and transpose them to twelve keys varying tempo. moving then from the highly specific environment of that particular composition to a more generalized musical situation. until absolutely comfortable. intensity. etc.. again varying musical components such as tempo. Now the player might conceivably realize all of the II V7 situations in the tune being learned using one single pattern transposed to fit the harmonic situation. vibrato. etc.24 The musician should learn (memorize) the improvisation and play it with the record being careful to duplicate the time feel. meter.. meter. turnarounds. i··. volume.

other (specify) ___ Tempo: Key: Dramatic devices (circle and describe): vibrato slurs rips growls glissandi articulation (specify): alternate fingerings harmonics other (specify): Tesoitura: ~cale preferences (circle one or more): major (and derivatives) whole tone diminished diminished whole tone lydian dominant blues pent~tonic chromatic other (specify): Prevailing scale patterns: Recurrent patterns: (A) II V7 Turnbacks Cycle~ (B) Melodic pa t t erns - T1~.*'* .STYLES AND ANALYSIS ARTIST __ ~ ___ FORMS Page 25 ----- Title of composition: Album: Recording company: Date: Leader or sideman: Instrument: ******************************************************************************* Tune type (circle one or more) : blues b~llad modal standard free jazz original bebop Latin/Afro-Cuban/etc.it . 4_&2& _ k.

""""'-"'''''''''''''''''''.:." 26 (C) Rhythmic patterns (2) (D) Other formulae (I VI II V..7C:.:".etc )~ ******************************************************************************* PERFORMANCE PRACTICE Developmental techniques: (circle and describe) simple to complex complex to simple single climax many climaxes vertical horizontal chord referential thematic refe~ent1al use of sequence/call and response use of quot~B (what and where) use of substitutions rhythmic practices: double time half time assymetrical describe groupings time: reiterative non-reiterative relationship to the basic melody: folk-like wide expressively narrow expressively riff-like blueey bebop qua r t a l other (specify) _ ******************************************************************************* General Co~ents: I ...H~~~~llr. III VI II V..il ..<w~.. .::..J...:.::~..:·:.. half-step progressions./ iii ---------.T':-::::::'~'·::::.:::I:.t='f£ltIlll'~ADii __ I1.:.r.T:'"C:.:::....". --. lIIIIillfIIi..:.JIlCWml:t.

. rips growls (glissandi) articulation (specify): alternate fingerings harmonics other (specify): Dramatic varied -._ • See attached sheets .. other (specify) __ Tempo = Key: J=- 168 Concert G (Alto key of E) devices (circle and describe) :(v1brato) varied (slurs) . STYLES AND ANALYSIS ARTIST FORMS Page _ 27 Charles Christopher Parker i Title of compo sLt Lcn Album: "Out o£ Nowhere" Charlie Parker: Volume IT company: FS-232 Recording Everest Records (Archive of Folk and Jazz MUsic) Da te : 12/18/48 Leader or sideman: Instrument: Leader Alto Saxophone ******************************************************************************* Tune type (circle one or more): blues ballad modal (standard) free j au original bebop tatin/Afro-Cuban/etc. Tessitura: middle to high (circle one or more): (major (and derivatives» whole tone (diminished) diminished whole tone (lydian dominant) blues pentAtonic (chromatic) other (specify): Scale preferences Prevailing scale patterns: See attached sheets See attached sheets Turnbacks Cycles (B) Melodic patterns ULUill1PZ.

) ******************************************************************************* PERFORMANCE PRACTICE Developmental techniques: (circle and describe) simple to cOm?lex complex to si~~le single climax many climaxes vertical horizontal chord referential thematic referential use of sequence/call and response use of quotes (what :and where) use of substitutions rhythmic practices: double time half time &ssymetrical groupings reiterative non-reiterative describe relationship to the basic time: melody: folk-like wide expressively riff-like bluesy bebop quart III other (specify) narrow expressively _ r~neral Couments: . III VI II V.etc.2 28 (C) Rhythmic patterns (2) . (D) Other formulae (I VI II V.:11_. half-step progressions.

Copyright renewed 1958 and assigned to Famous Music Corporation This arrangement Copyright © 197 8 by Famous Music Corporation Used by Permission International Copyright Secured Made in U.A.S.r: Ou. New York.i of Nowhere 29 Copyright © 1931 by Famous Music Corporation.i5 ParkE. All Rights Reserved The usc of the lyrics of this song with any other music is expressly prohibited .LhO:d. N. Y.




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Recording company: Date:

Leader or sideman: Instrument:

Leader Saxophone


Tune type (circle one or more): (blues) ballad modal standard free jazz original bebop Latin/Afro-Cuban/etc. other (specify)


Tempo: Key:


= 208


F (Alto

- D)

Dramatic devices (circle and describe): ~1brato ) (.,lurs ) (rips) growls (glissandi) ~rticulation


alternate fingerings harmonics other (specify): Bent note s Tess1tura: Scale preferences


to high
~ajor (and derivatives») whole tone diminished diminished whole tone lydian dominant (~lues ) pentatonic ( chromatic) other (specify):

(circle one or more):


scale patterns:



patterns she et sheet

Recurrent patterns: (AX II V7)

see attached

( Turnbacks) Cycles

see attached none

(B) (Melodic patterns

) see attached



If (2) (C) 35 ahead VI II V.{call and response) (C) 1 thru it (A) use of quotes (what .and where) only hi s own (i. e.)~alf-ste? progressions.******k********************************************************************** velopment~l techniques: (circle and describe) .) ) Rhythmic patterns formulae straight (D) Other (I VI II V. simple to complex complex to simple neither single climax ( many climaxes) ~ertical) ( horizontal ) BOTH ( chord referential ) thematic referential use of sequence. (C) l-it l-it use of substitutions (D) 7-8 half step passing chords rhythmic practices: describe ~ouble time ) (A) 10-11.etc. half time assymetrical groupings (reiterative) non-reiterative relationship to the basic time: wi th c. .» 8 but melody:(folk-like) (wide expressively) narrow expressively (riff-like ) relaxed and the time "layed back" (bluesy ) (bebop ) quart&! 6ther (specify) _ ******************************************************************************* General Comments: . (III SEE SHEET .

Hollywood. 6255 Sunset Blvd...EMI Music. CA.36 Copyright International © 1945 by Screen Gems . 90028 TIlls arrangement Copyright © 1978 by Screen Gems .A. Copyright Secured Made in U. Inc. Inc.EMI Music.S. All Rights Reserved .

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other (specify) based IIWhatis thi s thing Called Lovell. phrygian preferences ascending phrygian (major (and d er Lvat Lvee) (whole tone ) m. c7=phrygian lydian dominant Prevailing scale patterns: varied Recurrent patterns: (A) ([I V7) Turnbacks Cycles (B) ~elodic See attached sheet patterns) See at tached sheet . the Bird An Evening Recording Date: Leader Ca company: Savoy 1948 Leader Saxophone or sideman: Alto Instrument: ******************************************************************************* Tune type (circle one or more): blues b e l.m. vibrato ) ( slurs ) rips growls ( glissandi) ( articulation) (apec Lfy ) :v aried alternate fingering~ harmonics other (specify): Tessitura: Scale middle to (circle high one or more): ) (blues ) pentatonic (chromatic ) other (specify): ascending melodic minor.Lad modal ~t&ndard) free (jazz original) (bebop) Latin/Afro-Cuban/etc..\ = 190 Concert devices C (Alto (circle key of A) Dramatic and describe) i.emi7=(ascending(~iminished) m .40 ARTIST Charles Christopher STYLESANDANALYSIS FORMS Page _ Parker Title Album: of composition: "Ho t House II at Home with NG 1 21 52. ) diminished whole tone i.i. m. e. standard ~~~~~~---- Tempo: Key: r.

e. .****************************************************************************** PERFORMANCE PRACTICE Developmental techniques: ( simple to complex ) varied ( complex to simple ) (circle and describe) single climax (many climaxes) (vertical) (horizontal ) both (chord referential) thematic referent!'l use of sequence/call and response "Hoos s the MoochlT (C)18-20 Tell Overture (C) 29..etc.e.******************************************************************** and melodic patterns generally fallon places of repose i.eneral Comments: Quotes 77 -434 .-. ". (D)16-17 use of substitutions (A)21-22 rhythmic pr ac t ices: (double time ) ( C) 1 0 half time assymetrical groupings ( reiterative) non-reiterative describe relationship to the basic time: melody: (folk-like) (wide expressively) narrow expresaively (riff-like) (B)9-12 On top of the time.ominant 7th chord is often realized with the phrygian scale i...e. .) Tunes AABA recurs in meas. Major chords or points of rest.---. (bluesy ) ( bebop) quarts! other (specify) _ ~***.)half-step progressions.. G7=B 7.*****. Many dOESinant 7th .. The .---------------f(2) (C) 41 Rhythmic patterns basicaaly 8th notes CD) Other formulae (I VI II V~III VI II V. :7=C phrygian.32 use of quotes {what :and where) "Pu t your li ttle foot cu t " ITWm.r e realized with the derived diminished chord i. 1 thru 4 of each -8-8-8-8(A) section ..

Vocco & Conn. Inc.5'2. Los Angeles.42 Hoi I-/o{.. 90069 This arrangement Copyright © 1978 by Bregman.fse SfAVOY NG 121. 8544 Sunset Blvd..A. Calif.S. ce 1948 Copyright © 1954 by Bregman. All Rights Reserved . Inc. Used by Permission International Copyright Secured Made in U. Vocco & Conn.

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Fantasy 6003) Album: The Greatest Recording company: Date: May 1953 Prestige PR 24024 Leader or sideman: All-Star Instrument: Alto Saxophone group ******************************************************************************* Tune type (circle one or more) : blues ballad modal ( standard) free (jazz original) bebop Latin/Afro-Cuban/etc. other (specify) _ Tempo: Key: J -::. 184 Concert Bb (Alto key of G) (circle and describe) :(vibrato) (slurs) rips growls ( glissandi) articulation Dramstic devices (specify): varied alternate fingerings harmonics other (specify): Tessitura: ( middle to high (circle one or more): (major (and derivatives) (whole tone) ( diminished) ( diminished whole tone) 1ydiandominan t See attached sheet sheet ) blues pentatonic (chromatic) other (specify): Scale preferences Prevailing scale patterns: Recurrent patterns: (A) II V7 Turnbacks Cycles See attached (B) Melodic patterns See attached sheet .'l STYLES AND ANALYSIS FORMS 51 ARTIST Charles Christopher Title 0f Parker Page _ composition: "Perdido" Jazz Concert Ever (previous~ Jazz at Massey Hall..

half-step progressions.*******************. i.************************** General Comments: .***.52 (C) Rhythmic patterns (2) (D) Other formulae (I VI II V. * . (D) 1-8 use of quotes (what . i. implied through scale choices than through actual chord substitution.*****R~**********..e.x) many climaxes (vertical ) ( horizontal) (chord referential) ( thematic referential) use of sequence/call ••****************** (K) to (L) (B) 1-4. (H) 1-4 and response throughout thoughout. III VI II V.etc •.__ ""w:. (K) 1-4 rhythmic practices:(double time) (K) 5-8 half time assymetrical groupings (reiterative) non-reiterative describe relationship to the basic time: melody: folk-like (wide expressively) narrow expressively (riff-like) on top (blueey) (bebop) qUArt&! other (specify) _ **********.e. *********************************************************** PERFORMANCE PRACTICE Developmental techniques: (circle and describe) (simple to complex) complex to simple (single cl1ms. (E)8 (t step).and where) "Robin Hoed" (I) 1-3 Chopin's Military Polonaise (J) 1-2 use of substitutions more.

N. Copyright renewed Used by Permission All Rights Reserved ..rkU'": PErdido 53 Copyright © 1942 by Tempo Music.r Cnortes Po. International Copyright Secured Made in U.. New York. Inc.S.A. This arrangement Copyright © 1964 by Tempo Music. Inc.. Y.


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volume. vibrato and articulation. the author has grouped many of the melodic patterns according to scale or mode. Once the material has been understood and internalized.. register. In order to derive maximum benefits from their study. cycles. This practice allows the student to see at a glance the soloist scale preferences in a variety of musical environs. Finally.g._. meter. 8092 ._-_. Charlie Parker. turnarounds. ~ .. diminished patterns. the reader should begin striving to personalize the myriad patterns and scales in a way compatible with his/her own musical philosophy.. Whenever possible. et al. the reader is encouraged to transpose the patterns to all keys. Miles Davis. which have been abstracted from a wide variety of musical situations... etc.58 The Language All of the II V7 and melodic patterns.. varying musical components such as tempo. this series of monographs provides the jazz musician/teacher at whatever level of development the unique opportunity to "study with" John Coltrane. (The chord to scale syllabus in the front of this book will be an invaluable aid in determining why and how the soloist chose a particular scale). etc. Iydian dominant patterns.----- -------------~~~~ . have been transposed to the key of C. _--_. e.._ .

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