_Charlie Parker Omnibook (for C Instruments)

CHARLIE PARKER OMNIBOOK For C Instruments(TrebleClef) • TranscribedFrom His RecordedSolos • TransposedTo Concert Key

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 94 BIRD GETS THE WORM '" : . .. . 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 SHA WNUFF. . . . . . . . . . . .. . . . . . . . .. .. . . 128 SHE ROTE (No.1) 34 SHE ROTE (No.2) 36

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STEEPLECHASE . . . . . . . . . . . . . . . . . .. .. . . THRIVING FROM A RIFF VISA WARMING UP A RIFF . .. .. .. .. . . . . .. . . . .. YARDBIRD SUITE........................ Charlie Parker (Biography) Introduction Scale Syllabus

'i'J 1978 ATLANTlC MUSIC International Copyright Secured

All Rights

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CORP.

Made in U.S.A.

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 wonderfu.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 playing 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 measure preceeding it. Most players like to analyze solos in order to find out what the musician is doing. 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. Remember, 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.

* For SCALE SYLLABUS see page 143 iv

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~'l_'tl CRITERION'S BOOKS" JAZZ PUBLICATIONS

FIRST CHART by Van Alexander (Edited and Contributed to by Jimmy Haskell) An important elementary arranging book. Features step-by-step instruction to help musicians through that "first chart." Includes all the modern styles, Jazz·Rock, Blues-Rock, Contemporary Latin, etc. Includes a record of two of the charts including John C. Fogerty hit lor Credence Clearwater Revival, "Lookin' Out My Back Door", 112pp. Price $1••95

THE PROFESSIONAL ARRANGER COMPOSER (BoOkOne) by Russ Garcia Text book used by leading schools. Basis for course lor practical arranging and composing in the commercial field. For the advanced and professional arranger. 172pp., 1951 Price $14.95

THE PROFESSIONAL ARRANGER COMPOSER (Book Two) by Russ Garcia Discusses contemporary trends in Jazz, Pop and "Modern Classical" Techniques. New scales, chords etc. using tone rows in practical music. Contains a record of many of the 169 examples and the recording of a complete,score of a composition by Garcia. 91 pp., 1978 Price $14.95

NEW HOT DISCOGRAPHYby Charles Delaunay The standard directory of recorded jazz. Titles, personnel, dates and numbers of 20,000 records. 608 pp. Price $24.95

THE STECHESON CLASSIFIED SONG DIRECTORYby Anne & Anthony Stecheson A classified directory of over 100,000song uues, 395 dillerent categories. Used by every major record company. 503 pp. incl. 68 pg. supplement Price $40.00

------------------CHARLIE PARKEROMNIBOOK 60 Recorded Solos - 4 Books Eb... C ... Bb ... Bass Clef (New!) Price $11.95 Newl CHARLIE PARKERFOR PIANO 15 Plano Solos Based on His Re~ G7

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