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  • CHARLIEPARKEROMNIBOOKForC Instruments(TrebleClef) TranscribedFromHis RecordedSolos TransposedTo ConcertKey

    CONTENTSTitle PageAH-LEUCHA (AH LEV CHA) 86ANOTHER HAIRDO 104ANTHROPOWGY 10AU PRIVAVE (No.1) 24AU PRIVAVE (No.2) 26BACK HOME BLUES 106BALLADE 142BARBADOS 70BILLIE'S BOUNCE (BILL'S BOUNCE) 80THE BIRD . . . . . . . . . . . . .. . .. 110BIRD GETS THE WORM '" : . .. . 94BWOMDIDO 108BLUE BIRD :......................... 84BLUES (FAST) 124BLUES FOR ALICE 18BUZZy 78CARD BOARD 92CELERITY 22CHASING THE BIRD 82CHERYL 58CHI CHI 28CONFIRMATION 1CONSTELLATION 45COSMIC RAYS " 30DEWEY SQUARE 14DIVERSE 114DONNA LEE . . .. . . .. . . . . . .. . . . . . .. . . 48K. C. BLUES 20KIM (No.1) 51KIM (No.2) 54KLAUN STANCE 89KOKO 62LAIRD BAIRD 32LEAP FROG 130MARMADUKE 68MERRYGOROUND 117MOHAWK (No.1) 38MOHAWK (No.2) 40MOOSE THE MOOCHE 4MY LITTLE SUEDE SHOES 120NOW'S THE TIME (No.1) 74NOW'S THE TIME (No.2) 76ORNITHOWGY 6AN OSCAR FOR TREADWELL . . . . . . . .. 42PARKER'S MOOD 134PASSPORT 102PERHAPS 72RED CROSS 66RELAXING WITH LEE 122SCRAPPLE FROM THE APPLE. . . . . . . . . . . . 16SEGMENT 97SHAWNUFF. . . . . . . . . . . .. . . . . . . . .. .. . . 128SHE ROTE (No.1) 34SHE ROTE (No.2) 36mmSTEEPLECHASE . . . . . . . . . . . . . . . . . .. .. . . 112THRIVING FROM A RIFF 60VISA 100WARMING UP A RIFF . .. .. .. .. . . . . .. . . . .. 136YARDBIRD SUITE........................ 8Charlie Parker (Biography) iiIntroduction ivScale Syllabus 143

    'i'J1978 ATLANTlC MUSIC CORP.International Copyright Secured Made in U.S.A.

    All Rights

    . "

  • INTRODUCTION

    The solos in this book represent a 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 published inEb key and this new concert version should allow many more people to explore the won-derfu.1world of music that Charlie Parker gave us.

    Most Jazz musicians have learned to play by listening to records and imitatingthe notes, articulations, vibrato, etc. of the masters. We encourage you to play thesewith 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. Idon't feel the idea is to try to play the solos exactly as Bird did, but rather to findphrases, articulations, scoops, turns, etc. that you feel you would like to incorporateinto your own playing. By being able to see and play the actual notes, it should helpspeed up the learning process. Many players play like Bird but retain their ownpersonality.

    Practice with a metronome. Each day try to increase the tempo a little, all thewhile retaining the inflections, articulations, etc. that you would use at the slowertempo. Try practicing some of these solos with the Aebersold Play A Long records. Takea slow blues solo in F and play it with one of the records in the series that has a slowF blues, then move to a record that has a faster 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 df this book. Rhythm changes come next.Some compositions have the two versions recorded by Parker in separate solos. Whena measure occurs without a chord symbol above 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 HEARwhat is happening so we slow the music down.transcribe it, analyze it, practice the licks, patterns and phrases we like best, andend up playing them in our own way on our instruments. We have put chord symbolsover 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 musiciansused to improvise mainly on chord tones; Charlie Parker was one of the first to broadenthat to include scales and substitute scales. For information on scale substitution referto 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, evenwhen playing songs other than bluesl When you find licks or patterns that you enjoy,practice them in several keys so the melodic phrase becomes a part of you. It shouldbecome automatic in order to really be useable in a 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 and over, andthen playing the notes the way you hear it on the record. This might seem like the longway ta do it, but experience has proven reliable. After all, who would object to listeninganyway? listening is what music is all about.

    The records from which these solos are taken are listed at the top of each solopage. They are contained in approximately eight records (some are two record sets)and most all are still available. The two record sets are a barg,ain)

    We hope you have as much enjoyment with this book as we have hadputting it together.

    lamey Aebersold* For SCALE SYLLABUS see page 143

    iv

    r\

  • -:Confirmation

    1

    VERVE 8005By Charlie ParkerJ = 208

    (4-bar Intra)

    ~"' ~N~I . ?~

    Bb7 A- IIJ D7 G7 G- C7

    2 l~jr ~

    F J E16 A7 D- G7 C- It! F7

    alW"~'t~'ff~Bb7 A- r;: G-. J C7 F

    4~?t~ "1~ - -rttl..""

    C- C- F7 Bb Bb

    5~-"~Eb- Ab7 Db G- C7

    6~'T~

    ~.",~F7007 ~$?~ ,

    WW.

    e 1946 ATLANTIC ~IUSIC CORP. Renewed and assigned 1974 ATLANTIC ~IUSIC CORP.e 1978 ATLANTIC MUSIC CORP.

    All Rights Reserved.

    Bb7 A- D7 G- C7 F

    8~(turn page)

    -- ~

  • 2

    Confirmation - cent.

    F "" A' I>- G1~,-,.io

    F Etl' A7 D- G7 C- F7

    n~

    ia

    ~~131Df.,. " IJ

    E~- A~7 Db J G- ~7

    .,. - ..... .,.I."l. I'" """"'"'

    F~~n15W,. . ,~

    ". b .

    F ""~17~,1 t'1'-'

  • 3

    Bb7 A- D7 G7 G- C7

    18~}~

    F Er6 A7 .1 D- G7 c- S.

    L9~-"

    "7 ~F2O~T -~

    ~n ,I

    22

    ~.. G7C-F723 - .., m

    .... J W'

    Bb7

    jU

  • 4Moose The Mooche

    By Charlie ParkerJ = 224

    'PIANO "... c- F7

    C. PARKER407

    ,-..

    3 ?c- F7 A!>7

    G7 G- C7 c-

    Gil'

    F1.

    c- F7 "7.

  • 5

    c- F7 B'~C_F7

    9~?~ - - I

    B~7 E~ E~-6 B~ C- .F7

    101-~-~

    B~ c- F7 B~ c- F7

    11~-

    B~7 E~ A~7J B~ B~

    "~71- ~

    G-G7

    , . - J

    - - ~

    ~F7_ 14 - 'f 1 '1 ~

    c- F7 D- (D~-) c- F7 B~7

    15~"'M'r~

    E~7 B~ c- F7 B~

    16~' 1- 7 ~

  • ----;;-

    6

    Ornithology

    By Charlie Parker and Benny Harris '.'RD SYMBOLS'C. PARKER407

    ~"

    C7 F F- Bb7

    2 -'t'~'t'1~

    ~?t"i r-l

    E7 A- D7 liza ~I-I-I~

    JltUMf'EJ--B- E7 A- D7 G E7 A- D7

    5

    ~ .:!EHO~ ~l.T~ ~t.:rQ

    G G- C7

    6~-1

    F F- Bb77_- 1e 1946 ATLANTIC MUSIC CORP.e Renewed and assigned 1974 ATLANTIC ~lUSIC CORP. 1978 ATLANTIC ~fUSIC CORP.

    All Rights Reserved. W.w.

  • I"

    8Yardbird Suite

    By Charlie ParkerJ = 224~

    C F- Bb7 C7

    'BIRDSYMBOLS'c.PARKER407

    Bb7

    -_ ~ ... _ _ \0.-

    .....

    E- F#16 B7+9 E- A7

    4~'t~o ~tW

    D- EI6 A7D7 D7 Db7

    'li.ib'f~"~ -IC F- Bb7 C7 Bb7 A7

    6~ !if t'

    D7 G7 C D-

    7&'1J3. \'~ [email protected] \? I''1~t C F- Bb7 C7J Bb7 A7,mT'1_

    1946 ATLANTIC MUSIC CORP. Renewed and assigned 1974 ATLANTIC MUSIC CORP. 1978 ATLANTIC MUSIC CORP.

    All Rights Reserved. W.W.

    ~...... ------------

  • _.__ u __ __

    9

    9~~.m~

    C F- Bb7 C7 Bb7 A7

    .uyt=T~~

    D7 D- 07 C C B7+9

    l~?'rFtij- I ;E- B7 E- A7

    ..,20't - I

    D- A7

    .3

    D- 07 C ~Bb7

    l4~" . *1~C7 Bb7 M m

    15_~. I

    D- 07 C D- 07 C

    "I ~f~!'- ~~

    /'"

  • 10 Anthropology

    By Charlie Parker and John 'Dizzy' GillespieJ = 300

    Bb c-

    COLUMBIA 34831

    F71. I P ID- G7 c- F7 Bb7 Eb7

    BbF7c-G7;1.-D-

    -3m m m m

    " "s

    Bb c- F7 Bb G7 c- F7

    6 .

    Bb7 Eb7 Bb Bb

    .....- '-'7 -.,

    All Rights Reserved.

  • 11

    Bb7 Eb7 Bb7 G7 C- F7

    '_t'llj

    Bb C- F7 D- G7 C- F7

    n

    ~7~.~~~~:11 - - ~

    3 ~

    D7 D7 G7 G7

    2~

    C7 C7 F7 F7

    3~~M

    Bb G7 C-

    4 -~

    Bb7 Eb7 Bb G7 c- F7

    5~ - I - I 1?>ft 9--3

    6 B' C- ;,~~

    ~ (turn page)

  • 12 ____________________________ ~dl,lAnthropology - cont.B~7 E~ B~ c- F7

    17~"~ '71- ,Ell

    B~ C- F7 D- G7 C- F7

    18~

    ~m19 - !~

    D7 G7 G7

    ,o~ ~,.~ ..... _I

    C7 C7 F7 F7

    "I\i~l"!~ - I - I

    B~ a C- F7 D- G7 C- F7220-~-\-?~

    B~7 E~7 Eo B~7 C- F7

    "~-~'l)l

    B~ J C- F7 B~ F7

  • 13

    F- Bb7 Eb Bb7 3 c- F7

    ~'r

    ~ ~ n ~ m

    !~.~ "+ ~

    c- F7 Bb7 Eb Bb Bb

    .?~"~f~D7 G7

    -,~

    ,

    Bb c- F7 Bb c- F7

    'bj., .~~. a~-- ."Bb Bb7 Eb Eo Bb

    L~.:. _~_ ~ ~ma~ .,)@c- F7 Bb c- F7

    '~-~

  • ,..T

    14

    Dewey Square

    By Charlie ParkerJ ; 184

    Eb Ab- Eb7

    JAZZ GREATS JG-617/BLUE RIBBON 81

    Ob7 C7

    """--------------F7 F- Bb7 Iiib C7 F- Bb7'~'f'f~

    Ab- Ob7 Eb Eb C7-~_.

    F7 F7 F-

    5

    6

    C7 F7 F- Bb7 Eb

    71!t_'l~

    Eb Ab- Eb7 Ob7

    1958 ATLANTIC MUSIC CORP.I!:'lI978 ATLANTIC MUSIC CORP.

    Al! Rillhts Reserved. W.W.

    ~--

  • 15

    C7 F7 F- Bb7

    9~Eb F- Bb7 Eb Ab-

    LO_?IY~~

    Eb7 J Ob7 C7 F7 F- Bb7

    11~Eb Eb7 Ab.. Ab- . r I,L2~Eb Eb C7 F7

    L31"1

    F7 F- Bb7+

    "~'lU