Charlie Parker's Omnibook (Eb)

?.

For E Flat Instruments * Transcribed Exactly From His Recorded Solos

rlie Parker

There have been three books written about Charlie Parker whkh cover his life 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,

HARLIE PARKER by Max Harrison (British) and BIRD LIVES! by Ross Russell. He was born, brought up and educated in Kansas City, Kansas of q poor family, with his mother heading the family, the father long gone for other pastures. His mother managed to see 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 experience by using devices related to the higher intervals of a chord as a melody line. 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 modern 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 language, 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.

I 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, I brought the Jay McShann 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 a 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

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"

The solos are in Eb key which means they can be read right out of the book on Alto or Baritone Saxophone. 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 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 i s 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, i t 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, al l 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 i s fun to work towards playing 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 a measure occurs without a chord symbol above it, the chord i s the same as the measure proceeding it.

Most players like to analyze solos in order to find out what the musician i s do- ing. Our ears cannot always HEAR what i s 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 al l 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 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 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, i s often times best imitated by listening over and over, and then playing the notes the way you hear i t 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 i s what music i s 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 i t together.

- For SCALE S V T . T . A R l T S w~ nave 14.1 Jamey Aebersold

Confirmation

y Charlie Parker VERVE 8005

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Moose The Mooche

C. PARKER 407

. V r

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Ornithology

rker and Benny Harris 'BIRD SYMBOLS' C. PARKER 407

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Yardbird Suite

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Anthropology

arker and John 'Dizzy' Gillespie COLUMBIA 34831

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ey Square

JAZZ GREATS JG-617/BLUE RIBBON 8011

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Z o o * I E -

From The Apple

BLUE RIBBON BOll/UP FRONT 171/CHARLIE PARKER RECORDS 407/SAVOY 1108

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K.C. Blues

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BLUES ^ s / ~

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THE PROFESSIONAL ARRANGER COMPOSER (BOOK ONE)

By Russell Garcia . .

Best selling text book used by leading universities.

Basis for course in Practical Arranging and Composing

I \ BOOK ONE 1 in the professional field. For the advanced arranger

\\ I Endorsed by leading music educators and composers

and arrangers. RUSSELL CiARCIA ^ Ã‘

A N D N O W !

THE PROFESSIONAL ARRANGER COMPOSER (BOOK 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.

0 Contains a record of many of the 169 examples and the recording of a complete score of an exciting co~itemporary composition by Garcia. (Musicians used are the top instrumentalists on the West Coast).

oaks complement each other1

You need both books for a complete course!

ORPORATION 61 24 Selma Avenue, Hollyivood, 90028 Calif.

Celerity


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Au Privave (No. 1)

Charlie Parker VERVE 8010/MGM 4949/VERVE 2515

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Arranged by Frank Cornstock

THESE BOOTS ARE MADE FOR WALKIN' BEDHIE'S TUNE DREAM INTERMISSION RIFF IT'S A GOOD DAY 1UMPIN' WITH SYMPHONY SID MOOHLICHT IN VERMONT OFF SHORE ROBBIN'S NEST SPECIAL OCCUIOH MEDLEY TAILGATE RAMBLE VARTISY WALTZ MEDLEY

Arranged by johnny Warnngton

TIHY BUBBLES

(Rock H i l l

IB r tgm Swinel (Johnny Mercer;

(Bouncy) (Bouncy! IswingYl

(Great Standard (Dreamyl

(A Swinger'! (Often used Songs)

(Dixieland1 (Dreamy)

Au Privave (No. 2 )

rlie Parker VERVE 8010/VERVE 8840/VERVE 8002

BLUES

0 1956 AT1,ANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

411 Rights R~sfrL \ P(I

.-.. . a ( a co"*e-po~aq me*^odl

FIR Written by Pros.. .

reachas you to make a chart step by step, using "Moonlight in 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 7his BOOK opens the door to an arranging career for musicians Van's first book did this for me "

hi Chi

B arlie Parker VERVE 8005/MGM 4949JVERVE 8409

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Chi Chi - cont.

Cosmic Rays

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Cosmic Rays- cont.

CRITERION MUSIC CORPORATION PUBLICATIONS

SAXOPHONE TEUOR SAXOPHONE SI-flES

By SK" O w a h u e Solos by Don Byas Lester Young, etc

CHARLIE PARXU'S I E W P ALTO SAX FOLIO Recorded hit bop atlo solos

L i N O l S JACOUET TENOR SAX F O L ~ O Recorded hit tenor solos

ChAKLlE ITENTUM TfhOB SAX FOLIO 4 oneinal recorded tenor solos

S H I T THUHKT S m i S By Bill Butterfield Solos by Louis Armstrong, Harry limes i D u n ~' l lespie

TRUMPET

DRUMS AMERICA'S CSUTEST DRUM STTUSTC By Gtorgt Wflthn;

Feiturtng styles of 22 top-notch drummers

r n O F i S S I 0 N U MM STUDIES 1v Brtd SOIÃ‡M or RÃˆli Stif f Screen

I CLARINET G X A T C U ~ I H E T 1TTUS

Solos by A r i n Shm. Bwny Gx4msn Buddy de Franco ate

JAZZ C O N C I K O fOS CLAI INET BY Buddy de f r m o

Laird Baird

B - Bb- , A-


All Rights Reserved W W

Bb- I

A M o s t Unique

Guide f o r Guitarists

Answers many queshons and solves prob- lems relohng l a the gu^a,. -usic a i d the

music business 21 1 poges f i l led with text

and music examples 'covering over 60 dif-

ferent ospects o f the guitar An easy-to-read.

easy-to-undersiond book, spiral bound

BOSSA GUITARRA 6 Solos lor G u b r

by HURINOO AL"E+DA

Guitar Solos with lead line and chord symwis (finger style guitar) Also,

has suggested drum rhythms .

GUITAR TUTOR by Liiirindo Almeida A Compieie Concen Guitar Metrod m 3 Courses- For Beginners-Intermediates-And Advanced Stu dents-Includes Sa'os transcribed from Almerda's Capitol Recordings

Launndo Almeida s Concert Guitar Folio "FROM THE ROMASTIC ERA"

Transcribed Solos -from his Capitol album Music of Beethoven, Schumann Chopin Massenet and Greif

UURIHOO ALMEIOA GUITAR SOLOS All solos transcribed as recorded by Launndo Ai meida on Caoitol Rerfid1:

BOOK = I -Featuring WALK DON'T RUN and others BOOK 22-Feat~nng JOURNEY TO THE STARS and others BOOK =3 - Featlirmg JOSE, INSTANT GUITARS and others BOOK *4 - Featuring OIAMDND HEAD GRINGO and other hit songs,

By Charlie Parker

She Rote (No. 1)

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She Rote (No. 2)

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Mohawk (No. 1)

By Charlie Parke VERVE BOO~/VERVE ~ ~ ~ O / V E R V E 2501

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Mohawk (No. 2)


- - BLUES

A

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An Oscar For Treadwell

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An Oscar For Treadwell - cont.

F O L I O S piano & V O I C ~ w i h w t a r c h o r d s

LEE HAZLWODD FOLIO = 1 Conlams bus 1-ke HOUSTON SAND THESE BOOTS ARE MADE FOR ~ A L K ~ N elc

LEE HULEWOOD FOLIO = I 6C . ones including ' - [OWN SL-- - - - .WE COASTIN' .' etc

HAWAIIAN SOX6 BOOK 26 Hawat~an hi1 songs ircluding PEARLY SHELLS

FOREVERMO'IE elc

ISLAHD SOH6 BOOK 31 hats lealuiing TINY BUBBLES KAINOA SINGING BAMBOO e!c

SDHGS FOR SINGERS-Book 36 . songs including '. IF '- ' MI iT IN VERMON '. . S '- elC

TOP TV HIT TUNES 29 hit standards includln DREAM ITS A GOOO DBT nuRRf ON DOWN eic

P I A N O F O L I O S

LES BtXTEB'S EXOTIC MUSIC EXOTIC SOUNDS OF MARTIN DENNY ERROu 6ARhEB PlAhO SOLOS. I ERROLL GARNER PIANO SOLOS. I1 H REVEL'S MUSIC OUT OF THE MOON HAT KING COLE S PIJWO SOLOS

P I A N O S O L O S AUTUMN CONCERTO OFF SHORE LUSH WALTZ RDBBIN S NEST Â¥<OHTI . RUN~~WIT ROCKI~GHORSE MOON -I IN VERMONT WALK TO THE BULL UHt THE hAntii iEA

TOP TV BSDID i RECORD HITS Fill:

ACCORDION SOlOt l.Il1 BWiÃ CJIIT Ã ILL'.:~ iJVC TO WMCH CIILS BY- TJI'.I .I 5 7-:Is:! . !I;.. IE ÃˆHOÃ‡ IV!DlSDDY~ 1tLt.X

Constellation

harlie Parker SAVOY 2201

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Constellation - cont.

Criterion's ~ o o k i

HAWAIIAN SONG BOOK '

FOR PIANO. GUITAR 6 VOICE - P l e l e words and music ' " 5 . . an h i t songs Featuring . ' Y

.S FOREVERMORE M A '.' . . fINI. NO HUHU. I L L SEE TUU IN i-iArtAlI etc

Criterion s Book 2

ISLAND SONG BOOK

FOR PIANO, GUITAR & VOICE Complete words and music t o 31 Ha wanan hi* ---.is Featuring TINY BUB BI C', E '..' IJ M A I (Hawaiian Love . K t '. ' There Roc- KEALOHA

Polynesian

C n l e n o n ' s A u t h e n t i c

HAWAIIAN BOOK FOR ALL ORGANS

*Wsth rcg,%!rat,o > 5 10, P,pe E lec t r ,c A"* P.? set or.qan51

Complete words a n d music t o 17 Hawaiian h i t songs including PEARLY SHELLS QUIET VILLAGE "REWELL NO HUHU WAIKIKI MAPUANA etc

C r i t e r i o n s

EXOTIC BOOK FOR ALL ORGANS

'With registrations far Pipe Electric and Pre Sei Oraaln5,

Words & music and instrumentals of 15 Exotic " . igs including QUIET VIL LAGE '.* '. rAlN HIGH VALLEY LOW OFF 51 SONG OF INDIA HOUSE OF B A M u u u etc

SOUTH SEA FOLIOS Songs from Hawaii Tahiti Samoa & Maori

Book =I -SOUTH SEA SONGS Book = 2 - SOHGS OF POLYNESIA Book = 3 - ISLAND SONGS Book = 4 -MAORI MELOOIES Book =5 - SONGS OF PARAOISE Book =6 -SONGS FROM THf PACIFIC ISLfS Book = 7 -SONGS fROM THf ROMANTIC ISLANDS Bank =BÃ‘TUNE FROM THE TROPICS

Con l3ms and r ~ m c f o r v:Ke m sii 5tnge rote i ~ t r u m e r l s - u k ~ i e l e g ~ i t a i el:

CRITERION'S HAWAIIAN SING-A-SONG

LYRIC BOOK Words t o 84 Hawaiian favorites

New & Oia Include! ' P a . BUBBLES. PEARLY SHELLS. OFF SHORE -: . 1 ' VILLAGE etc

Donna Lee

harJie Parker SAVOY 2201

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Donna Lee - cont.

ORGAN FOLIOS

14 HITS For All ORGANS Great Standards arranged by Ben Kendatl

PlClFlC ISUMD HITS For ill ORGANS 17 Island lavoctes like TIHY BUBBLES arranged by Ben Kendall

EXOTIC HITS For All OBGAHS 15 hits like QUIET VILLAGE etc

HAWAIIAN BOOK For 111 ORCANS Standards lakt Pearly Shells etc

TOP N. RADIO 1 RECORD HITS For hammono Chord Organ m t h words 6 music for Dream Moonlight In Vermont-plus 21 more hits

CRIIESIOU ORGAN HITS For the Preset and Spinet model Hammond Organs 19 hit songs arranged by Mark Laub

CRITERION ORCAN HITS For all Wurlitzer Organs 19 nn songs arranged by Mark Laub

EARL ERAHI'S FAVORITES For the Hammond Chord Organ Words 6 music to 77 top songs recorded by Earl Grant

QUIET VILLAGE - For Hammom! Organ PEARLY SHEUS - For All Organs 11HY BUBBLES -For A l l Organs

EXOTIC BOOK FOR ALL ORGANS

(With ,cg,stra,,ons for Pipe Electric and Pre Set Oream,)

Words & music and instrumentals of 15 Exotic ="figs inc luding QUIET VlL LAGF Ã '.TAIN HIGH VAL I F Y I OW OFF SONG OF INDIAHOUSE OF I ' " etc

HAWAIIAN BOOK FOR ALL ORGANS

(With iCgistrationi for Pipe Electric on., Pie set organs,

Complete words and music t o 17 Hawaiian hit songs ,--i..-,ng PEARLY

'SHELLS QUIET VILI : FAREWELL NO H U H U WAIKIKI " ' ANA etc

Kim (No. 1)

By Charlie Parker VERVE 8005/VERVE 8840

8

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Kim (No. 1) - cont.

ORCHESTRATIONS

MOOERH SOUND SERIES.

S M A L L O R C H E S T R A T I O N S

I t i n o i i J icauel S Dim GilleSDit 5

*DBÃˆ"<S WEST TfE C U I W

Coleman Hawkin s STUFF?

Let ter Young s IUMPIN' WITH STWHOHT SID

S T A N D A R D D A N C E O R C H E S T R A T I O N S

JUTUMN CChCEWC U I I I M I Uw %tl 'i- nds Me1 UCIilL1;l-! IN VERUQHT

!IfW i T i h i 311 S H l * l . f i l l I I U I L I l..LÃˆC l T E I M i l i l C i RIFF IATI THE END {OF A

$ 1 5 1 Xi: O K UINBOW1

Kim (No. 2)

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Kim (No. 2 ) - cont.

A GUITAR METHOD THAT TEACHES READING & PLAYING

INSTANTLY!

Endorsed by:

BARNEY KESSEL

JACK MARSHALL

GEORGE RUSSELL

Edited by Burdell Mathis

For: THE BEGINNER

Contains these solos-"THESE BOOTS ARE MADE FOR WALKIN'," "LET THE GOOD TIMES ROLL," "HOUSTON," "TINY BUBBLES," and 15 other hits.

Cheryl

y Charlie Parker SAVOY 1108

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G U I T A R F O L I O S

"BOOTS" FOR GUITAR Guitar arranperr'ents .wth complete part's for Solo and Rhythm Guitar

FROM THE ROMANTIC ERA Concert g u t a r solos t r ansc r f b~d from L ~ u r i n d o A l ~ s ' d ] < C ^ p , ~ o l ~ , . s ' c 0' Beethoven ' i r e , ; etc

BOSSA GUITARRA S I X solos b i U d r r j o AimeiJj .Â t h lead hne and chord syv.bois

SURFIN' GUITAR Surf ing s o w s arranged bv I n ~ " ' i e HasHe.1 for piano qalo ,ind E,L tar ^lo

COUNTRY 6 U I T M Hits f rom the Country F ie ld

FOLKSY SONGS FOR GUITAR (Simple t o Advanced) "MTA", "Phi ladelphia l a w y e r etc

20 GREAT TUNES FOR GUITAR (Pick Style) 39 Great Arrangements by Dan fox , featuring ' 'Moonlight I n Vermont"

OSCAR MOORE GUITAR SOLOS

V E N T U R E F O L I O S

Book 51 -H i t s l ike WALK OON'T RUN Book * 2 - Hits l ike JOURNEY TO THE STARS Book 2 3 - Hits l ike JDSE. INSTANT GUITARS Book 2 4 -Hi ts l ike DIAMOND HEAD. GRINGO

G U I T A R S O L O S

AMOR FLAMENCO fi BAJA BODACIOUS & ANGRY GENERATION BULLERIAS Y CANCION TEHUACAN

G U I T A R B O O K S

GUITAR TUTOR by Laurindo Almeida A complete Concert G '~ i '3 r Ve thcd

THE GUITAR by Barney Kesse'i A unique guide tor guitarists

Thriving From A Riff

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12

"'I 1

SAVOY 2201

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TURN PAGE

KO KO - cont. - -

1 1 I , 1 1 I * " , 1 1 1 - 1 1 'Try- w

Red Cross

y Charlie Parker SAVOY 2201

(HEAD) J = 210

1

1945 ATLAXTIC MIJSIC CORP @ Renewed and ass~&ed 1973 ATLANTIC \ IUSIC CORP 0 1978 ATL'4NTIC MUSIC CORP

All Right? Resenwi

JACKSON BROWNE FOLIO S I X Songs From His Hit LP

Doctor, My Eyes My Open~ng Farewell lamalea Say You Will A Child In These HIIIs Song For Adam From Sllverlake

For Plano, Voice & Gultar

Marmaduke


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TURN PAGE 'J

Marmaduke - cont.

Barbados SAVOY 1108


All Rights Reserved

APING F 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.

Perhaps

By Charlie

BLUES

SAVOY 2201

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The Fake Book Fdr All Groups

BALLADS * BLUES 0 CONTEMPORARY * COUNTRY &WESTERN * DIXIELAND * EXOTIC FRENCH - FOLK * ITALIAN - JAZZ ROCK * LATIN * NOVELTY

POLYNESIAN (HAWAIIAN) * RHYTHM - PICTURE SHOW TUNES 0 WALTZES * XMAS

CRITERION MUSIC CORP

C l B f l . ...a I too. J. l Â

nu.... . UW1,QU. Â¥

Now's The Time (No. 1)

For Melody see Now's The Time (No. 2) - page 76

VERVE 8840

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N By Frank Skinner

A complete course in scoring for motion pictures and television, featuring an actual score that was writtern, arranged and recorded for a motion picture, with timing sheets, orchestra sketches and orchestrations.

w ' s The Time (No. 2 )

SAVOY 2201

BLUES (HEAD) D7

1

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Buzzy

BLUES rn - G7

SAVOY 2201

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Billie's Bounce (also known a s BILL'S BOUNCE)

By Charlie Parker SAVOY 2201

0 1945 ATLANTIC MUSIC CORP 0 Renewed and assigned 1973 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP.

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Chasing The Bird


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Blue Bird


BLUES x 125

. r ,

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Ah-Leu-Cha (also known as AH LEV CHA)


4

1 A7 I M I L E S DAVIS

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Piano

TURN PAGE

Ah-Leu-Cha - cont.

C#- (Bass & Drums)

2 1

Klaun Stance


8

TURN PIKE

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Klaun. - cont.

ard Board

VERVE 2501

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Bird Gets The Worm


Bb-

01948 ATLANTIC MUSIC CORP. a Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

Bird Gets The Worm - cont.

Segment

VERVE 8009 By Charlie Parker

TURN PAGE

0 1957 ATL.ANTIC MUSIC CORP 0 1978 ATLANTIC h4USIC CORP

All R~ghts Reserved

Segment - cant*

Visa

By Charlie VERVE 8OOOfVERVE 8009

0 1953 ATLANTIC MUSIC CORP 0 1978 A T L A N T I C MUSIC CORP

All Rights Reserved

Passport

VERVE BOOO/VERVE 8009

SOLO BEGINS

C 1953 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

Another Hairdo

SAVOY 2201

0 19.18 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

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Back Home Blue

VERVE B840/VERVE BOOOIVERVE 8010,'VERVE 2515

@ 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

Back Home Blues

harlie Parker VERVE 8840/VERVE 8000/VERVE 8010/VERVE 2515

@ 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

Bloomdido

a r k ? VERVE B840/MGM 4949/VERVE 8006/VERVE 2501

BLUES

0 1933 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP


The Bird

VERVE 2501

Be} E 7



Ill

Steeplechase

SAVOY 2201

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1978 ATLANTIC MUSIC CORP All Rights Reserved

Diverse

VERVE 8009

1

0 1957 ATLANTIC- MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

~ l l Rights Reserved

Diverse - cont.

Merry-Go-Round



All Riohts Reserved

Merry-Go-Round - cont.

My Little Suede Shoes


SOLO

7

0 1956 -ATLANTIC .MUSIC CORP 0 1978 ATLANTIC h,fUSIG CORP

All Rights Reserved

Relaxing With Lee

y Charlie Parker VERVE ~ ~ ~ O / V E R V E ~ O O ~ / V E R V E 2501

1

I


~ l l Rights Reserved

VERVE 8840/VERVE 8009/VERVE 2501

1977 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

J

TURN PAGE

Blues (Fast) - cont.

Shawnuff

nd John 'Dizzy' Gillespie PHOENIX 17 JAZZ

0 1948 ATLANTIC MUSIC CORP 0 Renewed and assigned 1976 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC COHP

All Rights Resewed

Leap Frog

VERVE 8840lVERVE 8002lVERVE 8006lVERVE 2501

F#- B7

Cj 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reserved

, , TURN PAGE

Leap Frog - cont.

SAVOY SJL2201

(-1

7

8

T 1948 ATLANTIC- MUSICCORP 9 Renewed .wd ,-is>iqned 1976 ATLANTIC MUSIC CORP

1978 ATLAV~K"'. MUSIC CORP All Rights Reserved

CHARLIE PARKER FO ecorded by The Paul Smith Trio

Cassettes available $8.98 by mail

CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, CA 90028

Warming Up A Riff

SAVOY SJL2201

' 1949 AATLANTIC JIUSIC CORP 0 Renewed and assigned 1977 ATLANTIC MUSIC CORP

1978 ATLANTIC NIUSIC CORP All Rights Reserved

6'

TURN PAGE

VERVE VE2-2512

(0 1956 ATLANTIC MUSIC CORP 0 1978 ATLANTIC MUSIC CORP

All Rights Reseived

CHARLIE PARKER FOR PIANO Recorded by The Paul Smit Cassettes available $8.98 b

CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, CA 90028

Ballade

By Charlie Parker VERVE MGV8002


All Rights Reserved. W.W

SCALE SYLLABUS

Each chord symbol (C7. C-, Co, elc ) represents a series o l tones which :he improvisor can use when Improvising These series o f lones have traditionally beer calied scales The scales listed here are the ones I most oftefl hear musictans play Ali example;, ale .n lhf, k r y o l C so you can compare lhe scale construction and s~mi lSr~I ies

This SCALE SYLLASIJS 's ~n tcnocu to &;,vr [he mm~rovt?.of a varlelv of scale choices which can be used over any chord-malor, minor dorrrnsn! ?th half d"r-115hed 3 r d dtrnmtshed Western music, espeCia1ly jazz and pop. uses ma)or, dominant 7th ar.0 Sgr\an m!r?or sc,l!r% and c n c r d i more than an,( o!her Scales and chords used less of len are lhe haif diminished and diminished I! Â¥A agree o?, these fige scale /ami/fes 35 bei. ig the most pre- dominant, !hen we 6iin set I ~ P ~ T I iip a s calegor~es and hsl sut)st~!ute scales beneath each heading

SCALE HAW

. . .. & .LF STEP BASIC CKOllB :-r 5 m e I N KEY O? c xiizG?Y

Each category begins w l h lhe s c a b mosi o o ely ceÂ¥3en1bItn !he cIw10 symbol gwen lo the lef l The scales are arranged according to (hp d e ~ i e r ot fitsbonance lhcy produce 'n ieta11on !o the basic chord 5ouf1d Scales near !he top o f each cafego,-y w ~ l l $r>urrJ m'id cr conso"an1 and T a l e choice". 1~;flber down the '1st wltt become rn- creasing!y terse or diss?nar'l Each pIayf>r 1 5 :;rged to slarl wilh !he scales a1 !he l o p a r d wilh praclice and experimentation gradiiacly work hi; wdy down thr list to the more dissor'aql or 1c"S:on producing scales You should work with a new i,ca'c sound o n your instrument unlf l your cars and fi.igers become comfortable w i f t xl! the Io~I,?~ IP the scale Music ;Â¥ miidc of t f n s ~ o n and celease Scale tones produce lension or lhey produce relaxation Ttie improvisors ability to conuol the amount dnd frcquericy o f tension and release wil l i n large measure determine whether tie i s ' iucce' ls l~ l in communicolinq !o the I'stenef Remember--you the player are also a listener1

CHORD IN C

C L G t D C t ' C U D C ? C X U C F C Ã ˆ B C I G S D C E G U D C t C t D

2 -1...-m s . . ICES - CHORD I N C

Any of (he various praclicf' procordures ,ir'o f~ i i l lerns hstad in Volumes 1 2 or 3 can b e applied to the Ieaining and a'.similalion of any o l Ih'e scdlo clloices l 1 5 l ~ d in this SCALE SYLLABUS Needless to say, any scale you want l o learn should be (ransposiv5 and pritcticed in t i l l twcl'de key^ The column on whole and hdf f step cortstruction that I have listed lor pach 5cale on the syllabus should p r o w helplul when trarispo-.iing a scale to any of the 'welve keys

AH ot the scales l i f ted i n the scale stILibus are l.Ged in the key o f C so you car1 have a frame of reference and can compare the simdcirities and difference:! You arc u r g ~ d l u write them in ri l l Iwelve keys and practice thc-rn in all twelve keys

3. HINOR SCUX CHOICES SCALE HAME U 4 11 CON<TRUCTlON ?&hLF IN KFf OF C CHORD lN C

Minor (Dorian) W H U U U I I ~ C C E b F C A B b C Pure Minor U I I W W H U U C D t b f C A b Ã ˆ b Melodic Mtnor(as.cending) U I I U W U U I I C D E b F C h Ã ˆ Blurs Scale - 3 U \I 11 -1 U C tb F y f G Ub C u ~ ~ t ~ h ~ d f b ~ ~ n wi th u Â¥tap U ll U 11 W H W H c D fh F cb hb A B c Harmonic 'Â¥iino k Ã § V v 1 1 - 3 1 C D E ~ F C A ~ B C Phrygian H b ' u g I I V U C O b E h F C A b B h C

H H a l t s t e p , W a Whole 5 tep CHORD SYMBOL GUIDE FOR SC&LSYI- V 7 means A Oomtntint 7th s c a l e or c h o r d

- 3 * t h r e e h a l f s t e p s (m inor t h i r d )

A * M a j o r s c a l e / c h o r d Cempha!;tze clip m a j o r 7 t h 6 ? t h K d o n l t emphasize t h e 4th) f l + 4 = M a j o r Â ¥ i c a l r / i h c r w l t h r a i s e d 4 t h ( L y d i a n ) U W U ti V V H

V7 * Dominant 7th scs!c/chord ( d o n ' t rmphas ize t h e 4 t h ) ( . l i l x o l v d l a n ) - M i n o r a c a l e / c h o r d ( O o r i a n ) ( a i i 5c.ilf tunes . ire usab le ' ) + * Ra ise the f i f t h cone of clie ' icale 5 s t e p

774-4 D o a i n a n t L y d i a n s c a l e ( cm[~ t~ . i s Izc the 9 c h . 1 Y ~ c h . i 6 t h ) - !J 14 W H W H W V7t -" W w l c tone - i c a i c / c h o r d - W W U U W U ( t i l l s s c a l ~ 1 i . i ~ ,> t4 b +5)

V7h9 Â¥ D lm in la t i cd s c a l e b e g i n n i n g wtc!i $1 h a l f -;ccp - 11 W 11 W !i W H W V7+9 - D l m l n l s h e d whole cone s c a l e (cniphas.Ize the b 9 , ( " Ã ˆ . / t k & 1 7 5 ) ~ H U H W W W w

6 Half d i m i n i ' i h ~ d s c a l r i c h o r d ( L o c r l a n v c d l ~ o r L o c r l a n H ? ) - H W W H W W W ( $ 2 ) W H U H V U W

CHORD 7 Ã C

ennui) 1s c

C Eb Gb A

CHORD I N C

C P C B b D

6 . . -"i#V 7th SCALE U M U & 11 CONSTRUCTION S C A l P IN K.Er OF C Â¥'Â¥..'.

--- -- C D ? C A B b C

C7 SUB li D m 7th scale but don't W - 1 V U 1 1 U each~iatxe the th ird

EXAMPLES' C - C D E F C A B C ( d o n ' t emphasize t h e 4 t h tone) c2+4 - C D E FI' G A 5 C ( L y d i a n s c a l e ) I

C7 C D E F C A Bb C (Oom./th s c a l e ) C- -. C D Eb F G A Bb C ( C m ino t - d o r i a n m i n o r )

C7+4 - C D E F/ C A Bb C ( L y d i a n dominant s c a l e ) C ? + - C 0 E f f G i Sb C (Whole tone s c a l e ) C A 9 - C Db Eb E Ff C A S b C ( D i n f n i i h e d s c a l e b e g i n n i n g w i t h h a l f acep) C7+9 Â¥ C Ob Eb (. F i C.f S b C ( D t B i n t i h c d whole t o n e scale)

Ctf = C Db Fb F Cb Ah Sb C ( H a l f diminished a c a l e / L o c c i a n a c a l c ) CW2 C D Eb F Cb Ab Bb C ( L o c r l a n <ih.-irp cwo(Ãˆ2 s c a l e )

ISBN 0-7692.

For E Flat Instruments * Transcribed Exactly From His Recorded Solos

AH-LEU-CHA (AH LEV C ANOTHER HAIRDO ANTHROPOLOGY AU PRIVAVE (No. 1) AU PRIVAVE (No. 2) BACK HOME BLUES BALLADE BARBADOS BILLIE'S BOUNCE (BI T H E BIRD BIRD GETS THE WOE BLOOMDIDO BLUE BIRD SLUES (FAST) BLUES FOR ALICE BUZZY CARD BOARD CELERITY CHASING THE B CHERYL CHI CHI CONFIRMATION CONSTELLATION COSMIC RAYS DEWEY SQUARE DIVERSE DONNA LEE K. C. BLUES KIM (No. 1) KIM (No. 2) KLAUN STANCE KO KO LAIRD BAIRD LEAP FROG MARMADUKE

ERRY.GO-ROUN OHAWK (No. 1) OHAWK (No. 2)

MOOSE THE MOOC Y LITTLE SUEDE SHO

NOW'S THE TIME (No. 1)

RED CROSS

SI SI STEEPLECHASE

FROM A BzIFF VISA

U P A BIF SUZTE

Documents

Charlie Parker's Omnibook (Eb)