Sa Te NLSCharlie Parker There have been three books written about Charlie Parker which cover his li 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 by Robert George Reisner, CHARLIE PARKER by Max Harrison (British) and BIRD LIVES! by Ross Russell, He was born, brought up and educated in Kansas City, Kansas of o poor family, with his mother hheading the family, the father long gone for other pastures. His mother managed to see that he learned the rudiments of his instrument, the allo 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 expres sion, boted with the’ stereotyped changes in ad-libbing (impr he exper mented until he discovered he could produce his ideas associated with personal expe jence by using devices related to the higher intervals of a chord os a melody lin ‘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 mod fern Picasso work, you con 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 foculty and rhythms. His "bop" adventure brought about a fresh harmonic complexity with richer melodie language, employing @ 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. | have followed Parker's career through the years and when scouting the Har- Jan Leonard band in Philadelphia about 1938 or '39, he might have been siill with the ‘sax section. Definitely in 1941 while with Leeds Muzic, now MCA, I brought the Jay ‘MeShann 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 @ 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 Partituras < AALeNTI DE CARMAN)CHARLIE PARKER OMNIBOOK For € Flat Instruments ® Transcribed Exactly From His Recorded Solos CONTENTS Title Page AI-LEU-CHA (AH LEV CHA) 86 ANOTHER HAIRDO 108 ANTHROPOLOGY 10 ‘AU PRIVAVE (No. 1 mw AU PRIVAVE (No 2) 6 BACK HOME BLUES 106 BALLADE, a2 BARBADOS 0 BILLIF’S BOUNCE (BULL'S BOUNCE) 2 THE BIRD 0 BIRD GETS THE WORM 94 BLOOMDIDO 108, BLUE BIRD, ot BLUES (FAST) 124 BLUES FOR ALICE 18 BUZZY a CARD BOARD 2 CELEBRITY 22 CHASING THE BIRD a2 CHERYL 58 CHI CHT 8 CONFIRMATION 1 CONSTELLATION 8 COSMIC RAY. 30 DEWEY SQUARE u“ DIVERSE 1a DONNA LEE KC. BLUES KIM (No 1) KIM (No. 2) KLAUN STANCE KO KO LAIRD BAIRD LEAP FROG) MARMADUKE MERRY.GO-ROUND MOHAWK (No, 1) MOHAWK (No| 2) THE MOOCHE THE TIME (No 1) THE TIME (No, 2) ORNITHOLOGY. AN OSCAR FOR TREADWELL PARKER'S MOOD 134 PASSPORT. 102 PERHAPS 1 RED CROSS 66 RELAXING WITH LEE wz SCRAPPLE FROM THE APPLE 16 SEGMENT 7 SHAWNUFF 128 SHE ROTE (No 1) 34 SHE ROTE (No 36 SIST 140 STEEPLECHAS! 12 THRIVING FROM A RIFF 60 VISA 100 WARMING UP A RIFF 136, YARDBIRD SUITE 8 Charlie Parker / Biography u Introduction w Seale Syllabus 1a 1978 ATLANTIC MUSIC. CORP International Copyright Secured Maden US AINTRODUCTION The solos in this book represent o cross section of the music of Charlie Parker. In presenting these solos, we hope to bring musicians closer to the true genius of Bird” The solos ore in Eb key which means they con be read right out of the book fon Alto or Baritone Soxophone. Other instruments, of course, will have to transpose. We hope to very shortly offer a condensed book of solos which will be transposed to Bb keys for Trumpet, Tenor Sax and Soprano Sax, ‘Most Jozz musicians have learned to play by listening to records and imitating the notes, articulations, vibrato, etc. of the masters. We encourage you to play these with the actual recording, Listen to the record first, then play through the solo slowly, gradually increasing the speed until you are at the recorded tempo Bird ployed it. | don't feel the idea is to try to ploy the solos exactly as Bird did, but rother to find phrases, articulations, scoops, turns, ete. that you feel you would like to incorporate into your own playing. By being able to see and play the actual notes, it should help speed up the learning process. Many players ploy like Bird but retain their own personality. ractice with o metronome. Each doy try fo increase the tempo a litile, oll the while retaining the inflections, articulations, etc. thot you would use at the slower tempo. Try practicing some of these solos with the Aebersold Play A Long records. Take @ slow bives solo in F and play it with one of the records in the series that hos @ slow F blues, then move to a record that has o foster F blues. It is fun to work towards play- ing the’solos with Bird along with the actual Parker recorded version. Blues make up the largest portion of this book. Rhythm changes come next. Some compositions have the two versions recorded by Parker in separate solos. When {@ measure occurs without a chord symbol above it, the chord is the same as thé meas- ure preceeding it. ‘Most players like to analyze solos in order to find out what the musician is do- ing. Our ears cannot clways HEAR whot is happening so we slow the music down. transcribe it, enclyze it, practice the licks, patterns and phrases we like best, and ‘end up playing them in our own way on our instruments. We have put chord symbols over most all bars to enable you to analyze the notes in relation to the chord. Remem- ber, each chord symbol represents a series of tones called a scale. Older musicians used fo improvise mainly on chord tones; Charlie Parker was one of the first to broaden that to include scales and substitute scales. For information on scale substitution refer to the Scale Syllabus chart.” Bird loved to use the b9 over the Dom. 7th chord/scale, The Blues scale and its accompanying licks wos an important part of his music, even when playing songs other than blues! When you find licks or patterns that you enioy, practice them in several keys so the melodic phrase becomes a part of you. It should become automatic in order to really be useable in a ploying situation Only @ minimum of articulations have been put in this book. We feel that jazz, being an oural art form, is often times best imitated by listening over and over, and then playing the notes the way you hear it on the record. This might seem like the long way to do it, but experience hos proven reliable. Afier all, who would object to listening ‘anyway? Listening is what music is all about The records from which these solos ore token are listed at the top of each solo page. They are contained in approximately eight records (some are two record sets) ‘and most all are still available, The two record sets are o bargain! We hope you have as much enjoyment with this book as we have had putting it together. Jamey Aebersold * For SCALE SYTTARIS are nage 143.Confirmation Charlie Parker 3=208 (4-BAR INTRO) cag. Fa7 © 1946 ATLANTIC MUSIC CORP TURN PAGE © Renewed and assigned 1974 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rights Reverved wwCie FATMoose The Mooche By Charlie Parker = 224 gyi Qs fit ", 07 fhe W74 ATLANTIC MUSIC CORP CORP. Reserved wwOrnithology By Charlie Parker and Benny Harris weamae d=236 Dems ©1946 ATLANTIC MUS! © Renewed and assigned 1974 4 ©1978 ATLANTIC MUSIC’ CORP All Rights Reserved ww :ORP. TIC MUSIC CORPB7+9 ~P fe or ket aber, —- = —s 2 SIE ~ a BT GH ca / b ~ a FE GgYardbird Suite Parker ‘tp srasous By Charl d=22h PANO ce Dis G9 Ce Fer _ a a o7 FAT { { 1 +, er ©1946 ATLANTIC MUSIC CORP. Renewed and assigned 1974 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP All Rights Reserved wwB7 Fa7 | B- £7 87 B- £7 A A #749 cee Che Fa7 yy ete { 4 |10 Anthropology By Charlie Parker and John ‘Dizzy’ Gillespie d=300 © 1948 ATLANTIC MUSIC CORP © Renewed and assigned 1974 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP All Rights Reservedun TURN PAGEuw Dewey Square By Charlie Parker fee sere een dz/ea c Fe c7 b Bb7 ATLANTIC. MUSIC CORP ATLANTIC MUSIC CORP. All Ruchts Reserved ww16 By Charlie Parker Z00 E dz Scrapple From The Apple ar E ay AD noe roe ere ©1957 ATLANTI © 1978 ATLANT wwa7 67 Gi! Fae hy Bate p terse ee18 Blues For Alice By Charlie Parker ‘VERVE 8010/VERVE 2515 2/05 BLUES D oo o7 6 : F a7 c7 ce 807 C7 A 07 7 ce mon Fe { $ 3 1956 ATLANTIC MUSIC: CORP ©1978 ATLANTIC MUSIC CORP. All Rashi Reserved wwww ALSO AVAILABLE CHARLIE PARKER OMNIBOOK For C Instruments (Treble Clef) » Transcribed From His Recorded Solos « Transposed To Concert Key CHARLIE PARKER OMNIBOOK Tronsposed for B Flat Instruments « Transcribed Exactly From His Recorded Solos (Tenor ond Soprano Sox, Trumpet and Clarinet)20 K.C. Blues By Charlie Parker fevers seermee serrate BLUES 4=/26 — dyed ——__ © 1956 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP A Rights Reserved wwce oj &7 i u SI THE PROFESSIONAL ARRANGER COMPOSER (BOOK ONE) sue a By Russell Garcia Shane Best selling text book used by leading universities. ‘COMPOSER Basis for course in Practical Arranging and Composing B00K ONE in the professional field. For the advanced arranger. Endorsed by leading music educators and composers ond arrangers, RUSSELL GARCIA AND NOW! —————————— ~ THE PROFESSIONAL ARRANGER COMPOSER EA (800K Two) By Russell Garcia Discusses contemporary trends in Jazz, Pop and “Modern Classical"’ Techniques. New scales, chords, progressions, free improvisation, vocal effects, using tone rows in practical music, etc. Contains a record of many of the 169 examples and the recording of a complete score of an exciting contemporary composition by Garcia. (Musicians used are the top instrumentalists on the West Coast) The both books complement each other! You need both books for a complete course! CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, 90028 Calif.Celerity By Charlie Parker ‘VERVE 8002/VERVE 2512 7 422% 958 ATI.ANTIC MUSIC CORP ©4978 ATLANTIC MUSIC, CORP All Raghes Revved ww28Ba Au Privave (No. 1) By Charlie Parker Sette eeicut seerteste ta) 42220 07 Fe Ay 07 Ae bee { ft maiadel zaget rey mine a” 07 ~ © 1956 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. All Haghts Reserved ww= STAGE DANCE BAND =26 Au Privave (No. 2) By Charlie Parker BLUES d2220 07 SOLO 07 07 (F#-) eve 9010 VERVE ae4o/veRve 4002 07 © 1956 ATLANTIC MUSIC CORP. © 1978 ATLANTIC MUSIC CORP AN) Raghts Rexeived wwAny Musician Can Arrange With This Book! Written by Prot Eated oy an asa rr | CHART [Svan secanoes ‘An Important Elomentory Arranging Book For Schools Contains two records of charts in the book: "Moonlight in Vermont’ for fll orch and 4 examples of corftemporary ‘shes by a leading university orch. BARNEY KESSEL says This cook ‘opens the door fo an arranging ca- reer for musicians Van's first book id this forme” 2728 Chi Chi By Charlie Parker VERVE 8005/MM 4048 VERVE 8408 2220 © 1955 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP Ali Rughts Reserved ww29 FD . FT 7 c Bb TURN PAGE30 Chi Chi - cont. G Cosmic Rays By Charlie Parker So ‘ae Seay a7 3 ea? 1956 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Baghts Reserv ww84 Cosmic Rays~- cont. [CRITERION Mu: _ . HUSIC CORPORATION PUBLICATIONS | SAXOPHONE TRUMPET oRUMSLaird Baird By Charlie Parker ee PIANO INTRO 2/62 Fag 87, za wa ©1956 ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC CORP A Raghts Reserved wwTHE GUITAR Borney Kessel BOSSA GUITARRA “hae supsetice runt mph ‘VENTURE FOLIOS BsEye She Rote (No. 1) By Charlie Parker verve prorveve anorvenv otavenve 258 9 92270 PEDAL CONCERT "F" © 1956 ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC CORP A Roghts Reserved ww3B36 She Rote (No. 2) PEDAL CONCERT “F" Wayoo ALLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rights Reserved wwa738 Mohawk (No. 1) By Charlie Parker eee or er 3 © 1956’ ATLANTIC’ MUSIC CORP ©1918 ATLANTIC MUSIC CORP Al Rights Reserves 67 D- a ww39x0 Mohawk (No. 2) By Charlie Parker eave souvene coer 32/84 BLUES 7 a BEEBE EL_EEEREREEBEBEEBLE BB © 1956 ATLANTIC MUSIC CORP ‘©1978 ATLANTIC MUSIC CORP ATL Rights Reserved wwaA (8b-) 67 1 C7 c7ae An Oscar For Treadwell By Charlie Parker Pawo d= 230 8. 7 jit” 4] T 2 == aa io cee Fe7 Be &7 Ay ©1956 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP ATL Rights Reserved wwa3 TURN PAGEaa 24 An Oscar For Treadwell - cont. AERTS TELE ASDC SIME OSSD MESA MES PIANO & VOICE 3 ec 2 eM NS 8 SE EH PLS OI AE EOS AGKaRAID16 Constellation By Charlie Parker savor 2201 32304 iM TURN PAGE © 1948 ATLANTIC MUSIC. CORP © Renewed and assigned 1976 ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC CORP All Rights Reserved16 Constellation - cont. ov aT Fer pear Polynesian Criterion’ ak Conner Authentic HAWAIIAN HAWAIIAN BOOK SONG BOOK FOR ALL ORGANS. ca conenen ISLAND, EXOTIC BOOK SONG BOOK FOR ALL ORGANS cRITERION'S HAWAIIAN SING-A-SONG LYRIC’ BOOKDonna Lee By Charlie Parker savor an 2230 5 © 1947 ATLANTIC MUSIC CORP © Renewed and assigued 1975 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved49 67 2ND CHORUS 0 67 16 38D CHORUS o7 7 3 TURN PAGE6O Donna Lee - cont. EXOTIC BOOK Hal FOR ALL ORGANSSL Kim (No. 1) By Charlie Parker env ns env coo 07 B- 7 2820 G7 Ae 07 D 67 7 (Rb) 67 TURN PAGE, © 1956, ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC CORP All Raghts Resesved ww.Be Kim (No. 1) - cont. A 07 o- a (Ab) 67 7 7 ob. ® v7 Be £7 ;53 $ ORCHESTRATIONS SE nna upren A wm eeba Kim (No. 2) By Charlie Parker eave 2005/Mom 4949 8. E7 07 58 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIG CORP All Rights Reserved ww6 A on Ce Epo TURN PAGE56 Kim (No. 2) - cont.A GUITAR METHOD THAT TEACHES READING & PLAYING INSTANTLY! Endorsed by: BARNEY KESSEL JACK MARSHALL GEORGE RUSSELL Edued by Burdell Mathis A SHORT CUT— —NOT A GIMMICK AN APPROVED MUSICAL METHOD YOU HAVE TO SEE TO BELIEVE! For: THE BEGINNER THE SLOW READER THE “PLAY BY EAR” MUSICIAN Contains there solos—“THESE BOOTS ARE MADE FOR WALKIN," “LET THE GOOD TIMES ROLL,” HOUSTON,” “TINY BUBBLES,” and 15 other hitBy Charlie Parker savor 108 BLUES AT AT E- 2/60 / hey _ be ©1947 ATLANTIC MUSIC. CORP © Renewed ind assign ATLANTIC MUSIC CORE ©1978 ATLANTIC MUSIC CORP. All Toghts Heserved59 GUITAR FoLIOs eoors” FoR cumaR Gutsy arangerents Sao and ina FROM THE ROMANTIC ERK Corer gut soy ans ts Coren lie ne paar eo 0ssk GuTARRA Sh ah by La is bard Sie sume’ cuiTaR Sucfog seaes aaneed by orm Haked counter surran Hs tam the County Feld FOUKSY SONGS FOR GUITAR Simple fo vances) MIA" “Phideiphs Lanyer ete 20 GREAT TUNES FOR GUITAR ick Sy! 28 ret rangement by Da Fo. etc Noonige in Yeon 7 fines) © ead oe scan MOORE GUTAR soLOs Rk == VENTURE FOLIOS 1 — Hite tke WALK OOWT RUN 2H ke JOURNEY TO THE STARS £3. Wise IOS, INSTANT GUITARS Mite lke MOND HERO, GRINGO GUITAR solos wor fLawexco one BODACIOUS & ANGRY GENGRATION BULLERIAS ¥ CANCION TeHuacaN GUITAR BOOKS SUITAR TUTOR by Lure Almese A camplete Concert Gua tte WE GUITAR by Brine Hes60 Thriving From A Riff By Charlie Parker ee 2290 ¢ AS v7 6 A- 07 © 1945 ATLANTIC MUSIC CORP: © Renewed and assigned 1978 ATLANTIC MUSIC CORF D1gis ATLANTIC MUSIC CORP All Rights Reserved6462 Ko Ko By Charlie Parker savor 2201 4=308 = © 1946 ATLANTIC MUSIC CORP. © Renewed and ssvigned 1974 ATLANTIC MUSIC CORP ATLANTIC MUSIC CORP All Rights Reserved63 TURN. PAGE64 Ko Ko - cont, 665 (Dru soo)” 6 7 — 4 t rs So A66 Red Cross By Charlie Parker savoY 7201 (HEAD) 220 © 1915 ATLANTIC MUSIC CORP. © Renewed and asngied 1973 ATLANTIC MUSIC CORP. ©1975 ATLANTIC MUSIC CORP All Rights ReservedB 4 67 , JACKSON BROWNE FOLIO ‘Six Songs From His Hit LP Doce, My Gyes» My Opening Farewell «Jamaica Say You Will» A chd Ta Tese lh Song for an * fram Siverne| For Piano, Voice & Guitar68 Marmaduke By Charlie Parker savor 2201 42208 © 1948 ATLANTIC MUSIC CORP © Renewed and assigned 1978 ATLANTIC MUSIC CORP. 1978 ATLANTIC MUSIC CORP. All Rights Reserved10 u 1 13 4 15 16 18 Fae 87 E soLo (Gevtae) Teas TURN PAGE 6970 Marmaduke - cont. 7 E 19 Barbados By Charlie Parker suues 868 ape D E- AT : — = — 7 see = t - SPE © 1948 ATLANTIC MUSIC CORP. © Renewed snd assigned 1976 ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC CORP All Rights Reserved” Gy pve eee EL ty fee Fe E ~~ a a _¥ Arr tr + + ee or 07 E a 07 LnNy ty SHAPING FORCES iN MUSIC By Ernst Toch {An inquiry into harmony, melody, counterpoint and form. A complete advanced music course novr being used by many leading colleges as their text bookcry Perhaps By Charlie Parker eeren BLUES (HEAD) $ ATLANTIC MUSIC CORP © Renewed snd assigued 1876 ATLANTIC MUSIC CORP P1978 ATLANTIC MUSIC CORP AIT Rags ReservedThe Fake Book Fer All Groups VARIETY PARE BOOK Crain's wie BALLADS {xOTC « FRENCH + FOUR = TALaM © JAE = ROCK « LATIN» NOVELTY © FOLYNESIAN (AWATAN) = RHYTHM» PICTURE » SHOW TUNES + WALTZES «OAS 73Now’s The Time (No. 1) By Charlie Parker ‘verve #849 blues daz For Melody see Now's The Timo (No. 2) - poge 76 solo. D7 9 81915 ATLANTIC MUSIC ‘CORP. © Rea wed rad assigued 1973 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP. All Rushis Reserved18 UNDERSCORE By Frank Skinner ‘A complete course in scoring for motion pictures and television, featuring an actual score that was wrttem, arranged and recorded for a motion picture, with timing sheets, orchestra sketches and orchestrations.76 Now’s The Time (No. 2) By Charlie Parker eer BLUES (HEAD) a=220 al o7 07 ©1945 ATLANTIC MUSIC CORP © Renewed and assigned 1973 ATLANTIC MUSIC CORP ©1GTS ATLANTIC MUSIC CORP A Rights Reserved778 Buzzy By Charlie Parker savor 220 BLUES = 250 G7 G? G7 © 1947 ATLANTIC MUSIL: CORP. © Renewed and assigned 1975 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP. All Rights Reserved7980 Billie’s Bounce (also known as BILL'S BOUNCE) By Charlie Parker savor BLUES 2165 © 1945 ATLANTIC MUSIC CORP. © Renewed and assigned 1978 ATLANTIC MUSIC CORP. 1978 ATLANTIC MUSIC CORP. All Rights Reserved8482 Chasing The Bird By Charlie Parker savor nee Jez & 7 D 87 E- a7 ©1948 ATLANTIC MUSIC CORP: Renewed and assigned 1976-ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP Al Rights Reserved83ex Blue Bird By Charlie Parker savor 2201, BLUES 2/25 c D- 67 E- AT 3 © 1948 ATLANTIC MUSIC, CORP © Renewed and assigied 1978 ATLANTIC MUSIC CORP 978 ATLANTIC MUSIC CORP. All Rights ReservedAh-Leu-Cha (also known as AH LEV CHA) By Charlie Parker sve set neLopy d=/#0 MILES DAVIS E- Ee E- nu A ttt pga tie tt Se 1 2 + ++ + ———" tft 4. A Ble D tee tei tie te tah = CH sin a nf nowt ; D BIRD ce FT 87 : . dee 1 4 a. &7 j See 4p ee = == z ve ye f MILES DAVIS 4 4 E- { ——— HF St tht te E E- Engy thet ttle athe oe fp icetty Er, t : SSE a See eee a = fr = | ae D BIRD SOLO Ee $2048 ATLANTIC MUSIC CORP © Renewed and ascgned 1976 ATLANTIC MUSIC CORP. fisth ATLANTIC MUSIC AL Rights Reserved87 delayed = =~ 67 ~ 07 ryt titepte ———— eet Abel TURN PAGE88 Ah-Leu-Cha - cont.Klaun Stance By Charlie Parker a ce ; ae 3 TURN. PAGE ©1048 ATLANTIC MUSIC CORP. © Renowed and assigned 1976 ATLANTIC. MUSIC CORP ©1978 ATLANTIC MUSIC CORP. All Rights ReservedKlaun. - cont. b7 (FA) 6G Cette ty beh , 4 eee atte citer Piano Soion peptttytuty ts” + \ rr a92 Card Board By Charlie Parker verve 201 dstio os Be Be te = a © 1956 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rights Reserved ww93 '7 = the whe sheBird Gets The Worm By Charlie Parker savor san 2340 ay F 3 © 1948 ATLANTIC MUSIC CORP, © Renewed and assigned 1976 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rughts Reservedon? Pawo 64 TURN PAGEBird Gets The Worm - cont.or Segment By Charlie Parker ‘venve 8009 42260 AS 07 fa TURN PAGE ©1957 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP AIL Rights Reserved ww98, Segment - cont. fh R t+ oS Ul iz ny a994100 Visa By Charlie Parker ‘VERVE s000,VERVE 8009 BLUES © d= 200 ay ma 1953 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rights Reserved101102 Passport By Charlie Parker eave socorveeve atop deta G Ae 4 or v7 SOLO BEGINS ki 6 &7 A o7 £1959 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP AIL Rights Reserved, ww103 a c+ a z104 Another Hairdo By Charlie Parker Savoy 2201 Blues =e 67 67 3 jog @7 a 7 6 8 a ; eee AIL Rights Reserved105 a - @7 be Vt. @7 3 @ 0 67106 Back Home Blues By Charlie Parker Se ere BLUES 42/92 a An a a1, ch FT B- © 1078 ATLANTIC MUSIC CORP All Rights Reserved ww407108 Bloomdido By Charlie Parker nr re Er BLUES dette 67 G7 G7 ©1959 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC GORP All Raghts Reserved ww109410 The Bird By Charlie Parker verve 2501 ose A Bg 7 Bg £7 © 1956 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Raghts Reserved. wwm1ue Steeplechase By Charlie Parker savor zon s/76 o7 7 ine v7 © 1918 ATLANTIC MUSIC CORP © Renewed and assigned 1976 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP. Al Rights Reserved11314 Diverse By Charlie Parker cree 42260 07 bes Stag Ether aS ©1957 ATLANTIC MUSIC CORP ‘©1978 ATLANTIC MUSIC CORP AIDRights Reserved ww15 TURN PAGE116 Diverse - cont.17 Merry-Go-Round By Charlie Parker ee s. 6 4-300 (A-) (07) 6 &7 TURN PAGE © 1948 ATLANTIC MUSIC CORP © Renewed and assigned 1976 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rights Reservedus Merry-Go-Round - cont.9 6 4, Soo120 My Little Suede Shoes By Charlie Parker vesve s000/veRve 2515 (HEAD) o- 67 c o- a7 o=/48 soLo © 1956 ATLANTIC. MUSIC CORP ©1978 ATLANTIC MUSIG CORP All Raghts Reserved wwa2422 Relaxing With Lee By Charlie Parker eee eceretae ern s160 Bb Bb 8b 3 v 1953 ATLANTIC MUSIC: CORP © 1978 ATLANTIC MUSIC CORP ATI Raghts served ww123 thr, Sowa Key waves UP ‘a STEP pt FOE Ol e t f St =124 Blues (Fast) By Charlie Parker env 2840/VERVE 8009/VERVE 2501 dees 67 ©1977 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Rughts Reserved ww.125 TURN PAGE426 Blues (Fast) - cont.127Shawnuff By Charlie Parker and John ‘Dizzy’ Gillespie 42326 — Beene (Cat) (Piano 3eenk) © 1948 ATLANTIC MUSIC CORP © Renewed and assigned 1976 ATLANTIC MUSIC CORP ©1978 ATLANTIC. MUSIC CORP. Al Rights Reservedeo10 Leap Frog By Charlie Parker env ett 602i VERVE BoD EVE 201 42330 9 D D Fe BT E AT — © 1956 ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC CORP. All Rights Reserved ww131 Leap Frog - cont. TURN PAGE4132 87 7 27 Ot. asLeap Frog - cont. D Devas 100". Yeuws198, Parker’s Mood savor sez atues 4=76 Ee -~ G7 f 44, A oy pet # A TEMPO D> G7 Ao “rubato ©1948 ATLANTIC MUSIC'CORP. Y © Renewed and assiened 1976 ATLANTIC MUSIC. CORP W915 ATLANTIC MUSIC CORP Al Rights Reserved135 CHARLIE PARKER FOR PIANO Recorded by The Paul Smith Trio Cassettes available $8.98 by mail CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, CA $0028136 Warming Up A Riff By Charlie Parker 62230 o7 bee a a Ar A hee s 1849 ATLANTIC MUSIC CORP. © Renewed and assigned 1977 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP. All Rights Reserved137 TURN PAGE13813910 By Charlie Parker verve verasna © 1956 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP All Rights Reserved ww1 5S ¢ = CHARLIE PARKER FOR PIANO Recorded by The Paul Smith Trio Cassettes available $8.98 by mail CRITERION MUSIC CORPORATION 8124 Selma Avenue, Hollywood, CA 90028142 Ballade By Charlie Parker ave moveno2 @270 Ae o7 6 1 © 1958 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. Al Rights Reserved, wwc= Major scale/chord c7 = Ce ‘Dominant 7th scate/chord Minor seale/chord (Dorian) Half diminished scale/chord ach chord aymbor (CF, C+ Co, ec) represents 3 Ese you can compare aon ue tes sone seus wrote sea ez woe suewuree — gomweFor E Flot Instruments Transcribed Exactly From His Recorded Solos AH-LBU-CHA (AH LEV CHA) ANOTHER HAIRDO| ANTHROPOLOGY: AU PRIVAVE (No. 1) AU PRIVAVE (No. 2) BACK HOME BLUES BALLADE BARBADOS BILLIF'S BOUNCE (BILL'S BOUNCE THE BIRD BIRD GETS THE WORM BLOOMDIDO BLUE BIRD BLUES (FAST) BLUES FOR ALICE BUZZY CARD BOARD CELERITY CHASING THE BIRD CHERYL CHI CHT CONFIRMATION CONSTELLATION COSMIC RAYS DEWEY SQUARE DIVERS) DONNA LEE K. C. BLUES KIM (No. 1) KIM (No. 2) KLAUN STANCE KO KO LAIRD BAIRD LEAP FROG MARMADUKE MERRY.GO-ROUND MOHAWK (No. 1) MOHAWK (No. 2) MOOSE THE MOOCHE MY LITTLE SUEDE SHOES NOW'S THE TIME (No. 1) NOW'S THE TIME (No 2) ORNITHOLOGY AN OSCAR FOR TREADWELE PARKER'S MOOD SCRAPPLE FROM THE APPLE SEGMENT SHAWNUFF SHE ROTE (No. 1) SHE ROTE (No. 2) sts STEEPLECHASE THRIVING FROM A RIF VISA WARMING UP A RUFF YARDBIRD SUITE ric MUSIC CORP ‘Sole Selling Agent. DLDFEDER MUSIC P.O. BOX 660, LYNBROOK, N.Y. 11563 INTERPRISE