CHARLIE PARKER OMNIBOOKCharlie Parker There have been three books written about Charlie Parker which cover his life thoroughly and these are recommended to learn about the hard life he led and the way he influenced Jaz 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 a poor family, with his mother heading the family, the father long gone for other pastures. His mother managed to 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 expres. sion, bored with the stereotyped changes in ad-libbing (impressions), he experi- mented until he discovered he could produce his ideas associated with personal exper- i 1d to the higher intervals of a chord os a melody line. d 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- ern 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 longuage, 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. | have followed Parker's career through the years and when scouting the Har- lan 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, | brought the Joy 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, wos 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CHARLIE PARKER OMNIBOOK For C Instruments (Treble Clef) ¢ Transcribed From His Recorded Solos « Transposed To Concert Key CONTENTS Title Page AH-LEU-CHA (AH LEV CHA) sees 86 ANOTHER HAIRDO .. 108 ANTHROPOLOGY 10 ‘AU PRIVAVE (No. 1) 2 ‘AU PRIVAVE (No. 2) | 26 BACK HOME BLUES SIT 106 BALLADE Uae BARBADOS. nl 10 BILLIE'S BOUNCE (BILL'S BOUNCE) 1... 80 THE BIRD S10 BIRD GETS THE WORM INT oo BLOOMDIDO CIT 108 BLUE BIRD ma 4 BLUES (FAST) SINT aaa BLUES FOR ALICE 28) BUZZY es ‘i 78 CARD BOARD. 92 CELEBRITY SOIT 22 CHASING THE BIRD oa CHERYL, o oe 6a) CHI CHT : 2B CONFIRMATION ad TELLATION |. ee 65) COSMIC RAYS : pee 100) DEWEY SQUARE 4 DIVERSE «. — : 114 DONNA LER, C48 K. C. BLUES 20 KIM (No. 1) 51 KIM (No. 2) : 34 KLAUN STANCE SID 89 KOKO 62 LAIRD BAIRD u 32 LEAP FROG. See 190) MARMADUKE, ct 68, MERRY-GO-ROUND 1002.11) 47 MOHAWK (No. 1) .. o 38 MOHAWK (No. 2) 40 MOOSE THE MOOCHE |! 4 MY LITTLE SUEDE SHOES Sis 120 THE TIME (No. 1) PT THE TIME (No. 2) 1% ORNITHOLOGY 6 AN OSCAR FOR TREADWELL fae PARKER'S MOOD 2134 PASSPORT oe 102 PERHAPS : 72 RED CROSS 266 RELAXING WITH LER |! 122 SCRAPPLE FROM THE APPLE 2010000..... 16 SEGMENT 97 SHAWNUFF +18 SHE ROTE (No. 1) os 34 SHE ROTE (No. 2) fal SIST Cl 40 STEEPLECHASE ||. SUI aa ‘THRIVING FROM A RIF 260. VISA S100 WARMING UP A RIFF 136 YARDBIRD SUITE een a) Charlie Parker (Biography) LL Introduction 5 iy Scale Syllabus u : 43 © 1978 ATLANTIC MUSIC CORP. International Copyright Secured Made in US.A. Al Rights ReservedINTRODUCTION The solos in this book represent ci cross section of the music of Charlie Parker. In presenting these solos, we hope to bring musicians closer to the true genius of “Bird”. These solos are in C concert key, treble clef. The book was originally publishe Eb key and this new concert version should allow many more people to explore the won- derful world of music that Charlie Parker gave us. ‘Most Jazz 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 played it. 1 don’t feel the idea is to try to play the solos exactly as Bird did, but rather to find phrases, articulations, scoops, turns, etc. that you feel you would like to incorporate into your own playing. By being able to see and ploy the actual notes, it should help speed up the learning process. Many players play like Bird but retain their own personality. Practice with a metronome. Each day try to increase the tempo a little, all the while retaining the inflections, articulations, etc. that you would use at the slower tempo. Try practicing some of these solos with the Aebersold Play A Long records. Take a slow blues solo in F and play it with one of the records in the series that has a slow F blues, then move to a record that has a 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 cbove it, the chord is the same as the meas- ure preceeding it. ‘Most players like to analyze solos in order to find out what the musician is do- ing. Our ears cannot always HEAR what is happening so we slow the music down. transcribe it, analyze 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 cover most all bars to enable you to analyze the notes in relation to the chord. Remem- ber, each chord symbol represents a series of fones called a scale. Older musicians used to improvise mainly on chord tones; Charlie Parker was one of the first to broaden that to include scales and substitute scoles. 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 was an important part of his music, even when playing songs other than blues! When you find licks or patterns that you enjoy, practice them in several keys so the melodic phrase becomes a part of you. It should become automatic in order fo really be useable in @ playing situation. ‘Only a minimum of articulations have been put in this book. We feel that jazz, being an aural art form, is often times best imitated by listening over ond 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 has proven reliable. After all, who would object to listening anyway? Listening is what music is all about, The records from which these solos are taken 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 a bargain! We hope you have as much enjoyment with this book as we have had putting it together. Jamey Aebersold + For SCALE SYLLABUS see page 143; : 1 Confirmation By Charlie Parker ‘veRvE 8005 08 t-tar Intro) F Eg AT D G7 Cc FT BT Dr ar « or BOT AS DT Ge Eb ADT Db - = oe m7 ©1948 ATLANTIC MUSIC CORP. (turn page) © Renewed and assigned 1974 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. eee wwConfirmation - cont. F Eg AT D- Gr 6 FT BbT A DT G cr rg BbT Ae D7 c crcr Fiahat Bb7 We F Fey ¥ 20]Moose The Mooche By Charlie Parker PARKER 407 = 224 PLANO Cc FT ¥ Bb7 Eb7 Bb c- FT Bb7 E> Ab7 Bb © 1946 ATLANTIC MUSIC Corp, © Renewed and assigned 1974 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP, “All Rights Reserved. wwBbT ED Eb=6 Bb c- FT ‘BbT Eb Abr yg Bb Bb FT D- (Db-) Ce FT BT EbT Bb Cc FT BbOrni hology By Charlie Parker and Benny Harris ‘an symsois: PARKER 407 = 236 ET AS Dr G ©1046 ATLANTIC MUSIC CORP. © Renewed and assigned 1974 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. All Rights Reserved wawpr+9 ce DT Ag EbT +rYardbird Suite By Charlie Parker ‘aio sensors a elrancen #07 Cia BLT DG? Gr cz c pre 3 E FH) Bi+o E- AT —_ BT og BbT AT ©1946 ATLANTIC MUSIC CORP. © Renewed and assigned 1974 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. ‘All Rights Reserved. wwo me oF 4 + = c ? Bb7 cT BbT AT 19} iE Fp o be 43gAnthropology By Charlie Parker and John ‘Dizzy’ Gillespie COLUMBIA 4821 Bb c- FT D fra ce FT eS 1978 ATLANTIC MUSIC CORP, eeeu Bb7 EbT Bb Gr Cc FT (turn page)Anthropology - cont. 12 Bb Eb Bb7 BT Eo EbT BbT13 F BbT Eb BbT 3 c FT a Fv BbT Eb Bb BbDewey Square By Charlie Parker J = 184 JAZZ GREATS 10-617/B1UE RIBBON 6011 Db7, cr i ATLANTIC MUSIC. CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved. wwoeScrapple From The Apple By Charlie Parker 1 nb 40/0 RONT 7/HAMUE FARR AcORDE 47 aA¥OY Hod J = 200 ©1957 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved. wav7 BbT Bo F F Bb7 BO F F Se = — - AT DT D7 F BT Be F F D7b918 Blues For Alice By Charlie Parker VERVE 8010/VERVE 2515, FT Bb Bb Bb7 A Ab br 3s FT oBbT Be orb? - & + oO e S z zF tH ©1956 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. ATT wwAb- Db7 Ge $ CT AS Ab- DbT Ge c7 a, et? + ALSO AVAILABLE CHARLIE PARKER OMNIBOOK For E Flat Instruments @ Transcribed Exactly From His Recorded Solos CHARLIE PARKER OMNIBOOK Transposed for B Flat Instruments « Transcribed Exactly From His Recorded Solos (Tenor and Soprano Sox, Trumpet and Clarinet)* K.C. Blues By Charlie Parker VERVE 8840/VERVE 9010/MGM 4949/VERVE 2515 J = 126 oa cr cr Blues CT c7 FT FT : = = f Sa ? TEE oo CT cT D- Gi © 1956 ATLANTI ©1978 ATLANTIC MUSIC CORP. See anne Www21 J v THE PROFESSIONAL ARRANGER COMPOSER (BOOK ONE) THE coma By Russell Garcia eaves © best sling text book vied by leading universes. COMPOSER © Basis for course in Practical Arranging and Composing BOOK ONE in the professional field. For the advanced arranger. © Endorsed by leading music educators and composers and orrangers RUSSELL GARCIA AND NOW! ——————— THE PROFESSIONAL ARRANGER COMPOSER EBA (BOOK Two) By Russell Garcia THE PROFESSIONAL [ARRANGER ‘COMPOSER cusses contemporary trends in Jazz, Pop and ‘Modern Classical” Techniques. New scales, chords, progressions, free improvisation, vocal effects, using tone rows in practical music, ete. Book TWO © Contains a record of many of the 169 examples and the recording of « complete score of an exciting contemporary composition by Garcia. (Musicians used are the top instrumentalists on the West Coast). RUSSELL GARCIA The both books complement each other! You need both books for a complete course! CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, 90028 Calif.22 By Charlie Parker ‘VERVE 9002) vERVE 2512 Fv a BbT7 Eb rE? Bb © 1958 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP, All Rights Reserved. ww.23 DRUMS Bb Cc FT 4 CHORUS24 Au Privave (No. 1) By Charlie Parker i @ = 220 VERVE 010/MGM 4949/VERVE 2515 FT co © 1956 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. All Rights Reserved wiw25 Bb por LAY BACK py FT cr tS eS SS TAGE DANCE BAND == LH26 . Au Privave (No. 2) By Charlie Parker ‘VERVE 8010/VERVE 8840/VERVE 8002 J = 20 Blues FT F7 F7 FT ©1956 ATLANTIC MUSIC. CORP. ©1978 ATLANTIC MUSIC CORP, All Rights Reserved, wivcr FT 27 FT BbT7 FT Any Musician Can Arrange With This Book! First Chart Written by Pros Sy VAN ALEXANDER Ededby SM HASKELL Teaches you te make @ thor sep by tap, ov Ing "Meentight ie Ver. An Important Elementary Arranging Book For Schools 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. BARNEY KESSEL says: “This book ‘opens the door to an arranging ca- reer for musicians. Van's first book {id this tor m28 Chi Ch By Charlie Parker VERVE 6005/MGM 4949/VERVE 8409 AbT Bb- Eb7 AbT bp Db? ; 1 Sea eaeeeittpaig + =a v AbT AbT Db7 . a 5 pipe Pe ©1955 ATLANTIC MUSIC CorP. ©1978 ATLANTIC MUSIC CORP. All Rihts Reserved. wwe29 Db7 AbT Eb- AbT Db? ‘ - al aaay Db7 AbT 4 Eb- AbT (turn Fage)Chi Chi - cont. ‘EDT AbT7 Bb- EbT AbT 20 ++ ging ra AbT tf 7 Db7 ‘DbT 21 Eby g AbT Bb- Eb? AbT 23| Cosmic Rays By Charlie Parker J = 132 c 3 z c7 VERVE 8640, VERVE 8005 © 1956 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. All Rights Reserved. ww31 BE Bb7 AbMacy cr FT : e : Ger FT et eb cin * ¥r s CRITERION MUSIC CORPORATION PUBLICATIONS | SAXOPHONE DRUMS | ‘ee rn samers as oe | enrag of2 oa ye CLARINET TRunPer SSE Sa nnLaird Baird By Charlie Parker ‘VERVE 2005 = 162 "PLANO INTRO ~ Gc cr F- BbT EbT Eb- Bb arc FT Bb Ag D7 Diminished Scale Bb Ag Db? G CT F Bb7 © 1956 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved. ww.ET Eb- D co FT Bb Ag DT cr F- Bb7 EbT Eb- 12 THE GUITAR Borny Ketel VENTURE FOLIOS BOSSA GUITARRAShe Rote (No. 1) By Charlie Parker VERVE 2010/VERVE 8849) VERVE #002/VERVE 2515, J = 270 Pedal Concert Ab So We egy FTE eine © 1956 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. ‘All Rights Reserved. wwbeeT c- Fr Bb c FT Bb 18 7She Rote (No. 2) By Charlie Parker @ = 265 ‘VERVE 8010/MoM 4949 Pedal Concert Ab Bb Bb D- GT 4 = =— j = FAs grey iF + ° ae FT Bb Bb ©1956 ATLANTIC MUSIC. CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved, ww.Mohawk (No. 1) By Charlie Parker VERVE 8006/VERVE 8640) VERVE 2501 = 168 a Bb? 3 - FS Fi LAY BACK © 1956 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP, All Rights Reserved wwwwall oe z # = Bb (Db-) c- FT BbMohawk (No. 2) By Charlie Parker ‘verve 6006 veRve 8002 d= 184 Blues BT BbT EbT EbT BT Bb7 EbT EbT EbT BbT Bb7 EbT — ©1056 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. ‘All Rights Reserved. ww.4a sh Bb > > Bb7 EbT Bbua BbT ‘BbMa42 An Oscar For Treadwell By Charlie Parker [VERVE 8002/VERVE 8006/VERVE 2501, ano woot F BbT c AT D- ar c wv © 1956 ATLANTIC MUSIC CORP. ©1918 ATLANTIC MUSIC CORP. All Rights Reserved. wavc7 BbT 7 c Dice ar or ie : CT BT E- AT D- G7 ————An Oscar For Treadwell - cont. c DD 7 E- aT D- Gr a eng liga ay ACRE A CON TREN AREER NA Ss PIANO & VOICE Pano rovios tng <2 rane cates pangs iano. so.os Soren ae ene ia BL ACCORDION {Or ya McD Fa HOME Sr TER A OREN Re 5 i Li 2 LConstellation By Charlie Parker savor 2201 J = 324 cr D- Gr E- AL D- Gt © 1918 ATLANTIC MUSIC. CORP. (turn page) © Renewed and assigned 1976 ATLANTIC MUSIC CORP. © 1978 ATLANTIC MUSIC CORP. All Rights Reserved46 Constellation - cont. FT pass Fe a47 Criterion's ok HAWAIIAN SONG BOOK Citerion's Bock? ISLAND. SONG BOOK Polynesian HAWAIIAN BOOK FOR ALL ORGANS EXOTIC BOOK south sea Fouos CRITERION'S. HAWAIIAN SING&-SONG LYRIC BOOKDonna Lee By Charlie Parker a J = 230 Ab i} FT BbTg BbT oe Gb7 Ab FT 3H cre t+ t t BT BbT+4s Bb- Eb7 © 1947 ATLANTIC MUSIC CORP. © Renewed and assigned 1975 ATLANTIC MUSIC Ct ©1978 ATLANTIC MUSIC CORP. ‘All Rights Reserved.end Chorus: Ab FT BT BbT 49 Bb 3 EbT Ab Eb- Ab? Db G7 Ab FT a) BbT Bb- Eb? Ab Fv ‘BbT BbT 3rd Chorug abo g Fr Bb? BitDonna Lee - cont. Db Gr Ab F7 Ab FT BbT BbT Bb- ‘EDT Ab Bb- EbT Ab ‘ORGAN FOLIOS ORGAN soos EXOTIC BOOK HAWAIIAN BOOK “ohn oo SP MeRe Soke SPiNSARORS. | RUE Sud tk deere(No. 1) By Charlie Parker VERVE 8005/VERVE 8040 @ = 320 BT Cc Fv D- G7 Cc FT F- BbT7 EbT (Coy ee aa F? BbT c FT D Gr o- Fv F- BbT EbT (chy BbT BbT Cc FT Bb7 EbT BbT7 G7 (turn page) © 1956 ATLANTIC MUSIC CORP. © 1978 ATLANTIC MUSIC CORP, All Rights Reserved. ww.Kim (No. 1) - cont. Cc FT Bb7 c Fv D- G7 Cc FT F BbT7 Eb7 Eb- D G7 eae BbT c- Fr D- aT c FT Fr Bb7 BT (Ch Bb? BbT DT D7 GT 16) c FT ‘BbT c- F7 D- GTCc FT BT Eb7 (ch BbT BbT BLT FT D- GTg cc FT F- Bb7 EbT (cy BbT Bot Fr ‘Bb7 Eb7 BT G7 c FT BT ORCHESTRATIONS {QUANDO LA LUMA al redKim (No. 2) By Charlie Parker VERVE 2005/Mom 4949) @ = 320 Bb Cc FT De Gr FT Bb7 b Bb Bb F- Bb7 © 1956 ©1978 ATLANTIC MUSIC CORP, “All Rights Reserved. ATLANTIC MUSIC CORP. eeF- Bb7 Eb? G7 Cc FT F- BT EDT Bb Bb - Bb7 Eb? Bb a7 c- FT Bb c- Fr D- G7b9 (turn page)6 Kim (No. 2) - cont. Cg r Br eb7 Bb Fr Bb7 EbT Eb- Bb a7 c " (DRUMS) 2, Bb cae (Db-) G7 c FTF- BT Eb Eb? Bb Bb bes OT ae BbT Eb Eb? Bb A GUITAR METHOD THAT TEACHES READING & PLAYING p INSTANTLY! a... ¢ simplified} GUITAR METHOD Endorsed by: BARNEY KESSEL JACK MARSHALL, GEORGE RUSSELL Edited by Burdell Mashis 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 these solos—“THESE BOOTS ARE MADE FOR WALKIN',"" “LET THE GOOD TIMES ROLL," “HOUSTON,” “TINY BUBBLES,” ond 15 other hitsCheryl By Charlie Parker savor nos « = 180 Blues ©1947 ATLANTIC MUSIC CORP, © Renewed and assigned 1975 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. All Rights Reserved.ura Fouos oer” Fe era 7 ‘ee oe aot a Rome EA (irene butts, me ot Se ny tes Nsw a ne Se tha tose mn rays nA poetics sm ar i ns Renee eee GUITAR ‘GUITAR SoL0s econ ur secon ‘ourTak 800Ks a aT by aide i "amt cort Cota eb ‘TH Gy Bey Hs ‘venture Fouos fo Sane Ti Sok sae nt ae fe ue HO,Thriving From A Riff By Charlie Parker savor 20 = 230 Bb c FT Bb c FT ©1945 ATLANTIC MUSIC CORP. © Renewed and assigned 1973 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. All Rights Reserved.61 Bb c- FL Bb (b-) c- FTKo Ko By Charlie Parker savoy 2201, « = 308 = Bb F. BT Eb © 1948 ATLANTIC MUSIC. CORP. © Renewed and assigned 1974 ATLANTIC MUSIC CORP, ATLANTIC MUSIC CORP, All Rights Reserved.AbT AbT Eb QF (turn page) cr iceKo Ko - cont. FT Bb Bb F- Bb7 Eb Eb AbT AbT Bb Bb Bb7 Eb Eb AbT AbT Bb Bb cr Eb ED AbT Ab?Eb Eb AbT AbT A, “Brum c Fr Bb c FT Bb SOLORed Cross By Charlie Parker savor 2201 « = 210 (Head) Bb cr cry YT 1 aaa = : PTsaari| Bb Bb Bb Bb es ey : = + tt Bb cb Bb Bb ee tp 5 a ———————F Solo © 1945 ATLANTIC MUSIC CORP. © Renewed and assigned 1973 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved.67 Bb c- F7 Bb c FT ar Gr i on Bb Cc FT Bb Cc FT \. SS Ws aRge Bb7 Eb Eb- Bb Cc Fv Bb JACKSON BROWNE FOLIO Six Songs From His Hit LP Doctor, My Eyes + My Opening Farewell «Jamaica Say You Will « A Child In These ils» Song For Adam = From Silverlake For Piano, Voice & GuitarMarmaduke By Charlie Parker savor 2201 08, 1948 ATLANTIC MUSIC CORP. ® Renewed and assigned 1976 ATLANTIC MUSIC CORP, ©1978 ATLANTIC MUSIC CORP. ‘All Rights Reserved.C4 (BRIDGE) 6 DRuns 2 ee ee eeMarmaduke - cont. Bb a7 a7 eG == 19} Barbados By Charlie Parker SAVOY 110 ce FT BbT7 BbT c7 74735 ©1948 ATLANTIC MUSIC CORP. © Renewed and assigned 1976 ATLANTIC MUSIC CORP. ©1978 ATLANTIC MUSIC CORP. All Rights Reserved.n Fr Ge cr FT : RF gtt_t sie + w FI BbT Bb7 FT 6 3 Sat FT DT Ge c7 SHAPING FORCES IN MUSIC By Ernst Toch An inquiry into harmony, melody, counterpoint and form. A complete advanced music course now being used by many leading colleges as their text book.