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CHARLIEPARKEROMNIBOOK ForC Instruments(TrebleClef) • TranscribedFromHis RecordedSolos• TransposedTo ConcertKey
CONTENTS Title Page AH-LEU·CHA (AH LEV CHA) 86 ANOTHER HAIRDO 104 ANTHROPOWGY 10 AU PRIVAVE (No.1) 24 AU PRIVAVE (No.2) 26 BACK HOME BLUES 106 BALLADE 142 BARBADOS 70 BILLIE'S BOUNCE (BILL'S BOUNCE) 80 THE BIRD . . . . . . . . . . . . .. . .. 110 BIRD GETS THE WORM '" : . .. . 94 BWOMDIDO 108 BLUE BIRD :......................... 84 BLUES (FAST) 124 BLUES FOR ALICE 18 BUZZy 78 CARD BOARD 92 CELERITY 22 CHASING THE BIRD 82 CHERYL 58 CHI CHI 28 CONFIRMATION 1 CONSTELLATION 45 COSMIC RAYS " 30 DEWEY SQUARE 14 DIVERSE 114 DONNA LEE . . .. . . .. . . . . . .. . . . . . .. . . 48 K. C. BLUES 20 KIM (No.1) 51 KIM (No.2) 54 KLAUN STANCE 89 KOKO 62 LAIRD BAIRD 32 LEAP FROG 130 MARMADUKE 68 MERRY·GO·ROUND 117 MOHAWK (No.1) 38 MOHAWK (No.2) 40 MOOSE THE MOOCHE 4 MY LITTLE SUEDE SHOES 120 NOW'S THE TIME (No.1) 74 NOW'S THE TIME (No.2) 76 ORNITHOWGY 6 AN OSCAR FOR TREADWELL . . . . . . . .. 42 PARKER'S MOOD 134 PASSPORT 102 PERHAPS 72 RED CROSS 66 RELAXING WITH LEE 122 SCRAPPLE FROM THE APPLE. . . . . . . . . . . . 16 SEGMENT 97 SHAWNUFF. . . . . . . . . . . .. . . . . . . . .. .. . . 128 SHE ROTE (No.1) 34 SHE ROTE (No.2) 36mm
STEEPLECHASE . . . . . . . . . . . . . . . . . .. .. . . 112 THRIVING FROM A RIFF 60 VISA 100 WARMING UP A RIFF . .. .. .. .. . . . . .. . . . .. 136 YARDBIRD SUITE........................ 8 Charlie Parker (Biography) ii Introduction iv Scale 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 in Eb 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 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. I 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 play 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 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. When a 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, 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 to 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 was an important part of his music, even when 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 should become 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, and then playing the notes the way you hear it on the record. This might seem like the long way ta 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 barg,ain)
We hope you have as much enjoyment with this book as we have had putting it together.
lamey Aebersold * For SCALE SYLLABUS see page 143
iv
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CHARtJEPARKEROMNIBOOK Transposed for B Flat Instruments. Transcribed Exactly From His Recorded Solos
(Tenor and Soprano Sax, Trumpet and Clarinet)
20
Blues
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© 1956 ATLANTIC :-mSIC CORP. .j....1e 1978 ATLANTIC MUSIC CORP. . All Rights Reserved, W.W.
21
• Endorsed by leading music educators and composers
and arrangers.
BOOK ONE
By Russell Garcia
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.
-------------- 22
Celerity
VERVE 8002/VERVE 25
Al! Rights Reserved. . w.w.
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THESEBOOTSAREMADEFORWAlKIN'. IEINIE'S TUNE DREAM. INTERMISSIONIIFF n's A COODDAY. JUMPlN'WITHSTMPHONYSID. MOONLICHTIN VERMONT OFF SHOIE.... 1018'N'S NEST. SPECIALOCCASIONMEDLEY TAllliATERAMlLE. VA.TISTWALTZMEDLEY
Arran•• ' b, Jotlnny Wamnlt,n
e 1956 ATLANTIC MUSIC CORP. e 1978 ATLANTIC MUSIC CORP.
All Rights Reserved. W.W.
I I I I I I I I I I I I I I I I I I I I I
C7
F7
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An Importon/ f/emen/ory
Arronging'Book For Schools
BARNEY KESSEL says: "This book opens the door to an arranging ca­ reer for musicians. Van's first book did this for me."
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 on:h.
(~contemporary method)
First Chart
FIRST CHART
by , .. he, you to make a
Van Alexander chart step by,'.p, us· 11:1.__ ---- ing "Moonlight in V.r­
...... t"
J ; 220
3
e 1955 ATLANTIC MUSIC CORP. e 1978 ATLANTIC MUSIC CORP.
All Rights Reserved. \V.W.
~B~;~
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31
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CRITERIONMUSICCORPORATIONPUBLICATIONS
ILLINOIS JACQUET TENOR SAX fOUO
Recordl!dhit tenorsolos,.
CLARINET
JAZZ CONCIITO fOl ClARINET ByBuddyde FrlllCO..
32 Laird Baird
"""'--PlANOl.NTKO-------
,
F7C-BbF7
7 ij
8~'t:~ e 1956 ATLANTIC MUSIC CORP. 101978 ATLANTIC MUSIC CORP.
All Rights Reserved. W.W.
"~-!Z~ '1j1fl I
12~~I'~ D- Db- C- C- F7+
THE GUITAR by
laurindo Almeida'sConcertGuitarFolio "FROMTHf ROMANTICERA"
Answers mOny questions ond solves prob­
lems reloting 10 the guitar, music ond the
music business. 211 pages filled with text
ond music excrnples covering over 60 dif­ ferent aspects of the guitar. An eo sy-to-rec d,
easy-to-understand book, spirol bound.
.. ,AMoR flAMENCO. TrHUACAN
by LAURINOO ALME.IDA
Guitar Solos with lead line and chord symbols (finger style guitar). Also
has suggested drum rhythms.
VENTURE FOLIOS BOOK=1 _ FeaturingWALKDON'TRUNand others BOOK=2 - Featuring JOURNEYTO THE STARSand others. BOOK=3 - Featuring JOSE.INSTANTGUITARSand others. BOOK=4_Featuring DIAMONDHEAD,GRINGOand other hit songs.
f} ....
34
Pedal Concert Ab
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'PIANO ViTRO c
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7~'- e 1956 ATLANTIC ~JUSIC CORP. ~ 1978 ATLANTIC ~JUSIC CORP.
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lEEHAZlEWOODFOLIO:: 1 ERROLLGARNERPIANOSOLOS,I Containshils like HOUSTON.SAND.THESESOOTS ERROttGARNERprANOSOLOS,II art
AREMADEfORWo\lKIN',etc. H. REVn'SMUSiCOUTOFTHEMOON 'I lEE HAZLEWOODFOllO=2 NATKINGCOLE'SPIANOSOLOS
60 greatsongs.includingSUGARTOWN. SUMMERWIN£.COASTIN',SHADES.etc
fOREVERMORE,etc' MONTEVIDEO RUNAWAYROCKINGHORSE .~ ISLANDSONGBOOK . MOONliGHTIN VERMONT WAlK TOTHEBUll RING I":.
31hils, featUringTINYBUBBLES,KAINOA, THENAKEDSEA } , SINGINGBAMBOO,etc. ~ ,
SONGSFORSINGERS-Boak:::2 TOPTV RADIO' RECORDHIlS Fille i"" 36 great songs,IncludmgQUIETVILLAGE,WHEN ' ~ , THEWORLDWASYOUNG,MARIKA.etc.. ACCO.OIO" S0105 , .
TINY8U88LES--lUIOVILLACiE-IIIUSICTOWATCH ... TOPTVHITTUMES CiIiLSIY_ QUENTIN'STMEIIIE_ ONE AIIIORE_ ' .'
~",~_~"\t'~<ji'"-.v./.~~fJ.t.~~~fJ'Z',r~~~)f?,1i:'IG:.."i(::$"::&1.UQt'·yOO~~~~~#I'~
45
Constellation
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,
<BRenewed and assigned 1976 ATLANTlC MUSIC CORP. <B1978 ATLANTlC MUSIC CORP.
A11Rights Reserved.
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HAWAIIAN SONG BOOK
FOR PIANO. GUITAR & VOICE Complete words and music to 26 Hawaiian hit songs. Featuring PEARLY SHELLS, fOREVERMORE, MAPUANA VINI VIN!, NO HUHU, I'LL SEE YOU IN HAWAII. etc.
Criterion's BookI Cri.terion's Authentic
,W.tl> 'ell'sl'~I'O.," for p,pe. [Iect", dod FTC Set Q,g3nS)
Complete words and music to 17 Hawaiian hit songs. including PEARLY SHELLS. QUIET VILLAGE. FAREWELL, NO HUHU. WAIKIKI. MAPUANA. etc.
SOUTH SEA FOLIOS Songsfrom Hawaii,Tahiti.SamBa& Maori
Book ~1 _ SOUTHSEASONGS Book =2-50NI>5 OFPOLYNESIA Book =3 _ISLAND SONGS BOllk=4 _ MAORIMElODIES Book=S-SDNGS Of PARADISE Book~6-SDNGS fRDMTHEPACIfICISLES Book=7 -SDNGS FRDMTHERDMANTICISLANDS Book=8- TUNESfROMTHETROPICS
Contains words and music for voice and all sin~le note instruments-ukulele. guitar, etc..
Criterion's Book 2
ISLAND SONG BOOK
FOR PIANO. GUITAR & VOICE Complete words and music to 31 Ha­ waiian hit songs. featuring TINY BUB· BlES. E MAllU MAl (Hawaiian love Call). KAINOA, There Goes KEAlOHA, SINGING BAMBOO. THAT'S THE HA· WAIIAN IN ME. etc.
Criterion's
lW,th ,eK,strat,ons 10' P,p ... EI"Gl .. ~ and Pre· Set O'gans,
WordS & music and instrumentals of 15 sxcnc Hit songs. Including QUIET ViL· LAGE: MOUNTAIN HIGH, VALLEY LOW: OFF SHORE: SONG Of INDIA: HOUSE OF BAMBOO. etc
CRITERION'S HAWAIIAN SING·A·SONG
LYRIC BOOK Words to 84 Hawaiian favorites
New & Old Includes TINY BUBBLES. PEARLY SHELLS, OFF SHORE. QUIET VILLAGE. etc.
48
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49
6~'~ -,\
Bb- Eb7 Ab Bb- Eb7 Ab
Z4~'fit_ - ~
ORGAN SOLOS
QUIETVlllMiE - For HammondOrgan PURLY SHELlS- For All Organs TINYBUBBLES- For All Organs
ORGAN fOLIOS
EXOTICHITSfor AllORGANS 15hits like QUIETVILLAGE,etc..
HAWAIIANBOOKfor AllORGANS Standardslike PearlyShells,etc..
CRITERIONORlaNHilS For the Pre-setand SpinetmodelHammondOrgans. 19 hit songsarrangedby Marklaub
CRITERIONORGANHITS For all WurlilzerOrgans.19 bit songs arrangedby Marklaub.
EARLCRANT'SfAVORITES For the HammondChordOrgan,Words& music to 27 top songs rec:ord~d by EartGrant.
EXOTIC BOOK FOR ALL ORGANS
(Willi rellislr:at,ons fo' Pipe. Electric :and Pr.Set Oraans)
Words & music and instrumentals of 15 Exotic Hit songs, including QUIET VIL· LAGE: MOUNTAIN HIGH, VALLEY LOW: OFF SHORE: SONG OF INDIA: HOl,lSE OF BAMBOO. etc.
Criterion's Authentic
(Wilh ,el;slratio"s for Pipe, Eleclric :and Pre·Sel Oraans)
Complete words and music to 17 Hawaiian hit songs, including PEARLY SHELLS. QUIET VILLAGE. FAREWELL. NO HUHU. WAIKIKI, MAPUANA. etc.
51
Bb7 c- F7 D- G7 c- F7
1 l' - I
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8~?~"~~? - I~ (turn page)
All Rights Reserved. W.W.
52 Kim (No.1) - cont.
c- F7 Bb7 c- F7 D- G7
9~m=O~ c- F7 F- Bb7 Eb7 Eb- D- G7
"~~- c- F7 Bb7 c- F7 D- G7
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171-'7'1~'-1
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ORCHESTRATIONS
berry MUlligan's MULlIGANETTE$ BERNIE'S TUNE_WALKIN' SHOES NU;HTS AT THE TURNTABLE­ SOFTSHOE- FREEWAY
illinois Jacauers D',zzyG,llesp',e's ROBBINS' NEST THE CHAMP
Coleman Hawkin's STUFFY
STANDARDDANCE IUTUMNCONCERTO
(My Hearl Remonds Me) 'ERNIE'S TUNE DRUM INTERMiSSiONiliFF IT'S'" CODD DAY
OICH£STlATlONS
MAliNA MOONLIGHTIN VERMONT Off SHORE QUIETVILUGE (AT) THE END (OF ... RAINBOW)
QUANDOLALUNA(Smallarch.!
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3
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6
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All Rights Reserved. W.W.
55
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56 Kim (No.2) - cont. c- F7 F- Bb7 E~7 Bb
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19 1 - ~ - I !
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Contains these solos- "THESEBOOTS AREMADE FOR WALKIN'," "LET THE GOOD TIMES ROLL," "HOUSTON," "TINY BUBBLES," and 15 other hits.
A SHORT CUT- -NOT A GIMMICK
AN APPROVED MUSICAL METHOD YOU HAVE TO SEETO BELIEVE!
For: THE BEGINNER THE SLOW READER THE "PLAYBY EAR" MUSICIAN
Edited by Burdell Mathis
J = 180 Blues
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81 - ,fl==l © 1947 ATLANTIC MUSIC CORP. © Renewed and assigned 1975 ATLANTIC MUSIC CORP. © 1978 ATLANTIC MUSIC CORP.
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,
FROMTHERDlIAHTICERA Concertguitarsolostranscribedfrom laurindoAlmeida'sCapitolalbum,musicof Beethoven,Greig,etc.
SURfIH'GUITAR Surfingsongsarrangedby JimmieHaskell 'or pianosoloandguitarsolo
coumty 1U1T.. Hib fromItIeCountryField
2t UUT HIES FGICUlT•• (Pick Style) 39 GreatArrangementsby Danfox, featuring "MoonlightIn Vlnnonr
OSCUMOOIECUlT.'SOlOS
GUITAR BOOkS
60
SAVOY 2201
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All Rights Reserved.
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'~ll-~'1~ e 1946 .ATLANTlC MUSIC CORP. e Renewed and assigned 1974 ATLANTIC ~lUSIC CORP. e ATLANTlC MUSIC CORP.
All Bights Reserved.
, !
o~-lf~?t'58
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All Rights Reserved.
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