Charlie Parker

CHARLIEARKER MNIBOOK P O
For C Instruments(TrebleClef) • TranscribedFrom His RecordedSolos • Transposed Concert Key To
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 130MARMADUKE 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

mm

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

112 60 100 136 8
ii

iv
143

'i'J 1978 ATLANTlC MUSIC International Copyright Secured

CORP.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 thewonderfu.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 theidea 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 thetempo 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 alongwith 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 cannotalways 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...