CHARLIE PARKER OMNIBOOKCharli There have been three books written about Charlie Parker which cover his life thoroughly and these are recommended fo learn about the hard life he led and the ‘way he influenced Jazz in Americe. The books are BIRD by Robert George Reisner, CHARLIE PARKER by Max Harrison (British) and BIRD LIVES! by Ross Russell, He was born, brought up and educated in Kansae City, Kansas of @ 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 allo saxophone and it was ‘even @ struggle to buy him a horn and get him lessons, In some ways, he was like Picasso, ever searching for new ways of expr sion, bored with the stereotyped changes in ad-libbing (impressions), he expe mented until he discovered he could produce his ideas associated with personal exper- nce by vsing devices related to the higher intervals of a chord as «melody line ind like Picasso, once arrived at his ylimate style, he stayed there since imitators ‘ould nat comfortably oF naturally follow his direction. Just ax you con look at @ mod: fern Picasso work, you con hear a Patker solo and identity them easly, 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 ond fluency of his inventive Foeulty and rhythms. Hit “bop” adventure brought about a fresh harmonic complexity with richer melodie language, employing a great of intervals. This creative area was not accepted immediately by his peers or public because it dared 10 be different ond it took years before his “sound” became popular. | have followed Parker's career through the years and when scouring the Har- lan Leonard band in Philadelphia about 1938 or 39, he might have been stil with the sax section. Definitely in 1941 while with Leeds Music, now MCA, I brought the Jay MeShena catalogue into the firm clong with some works by Charlie Porker and heard this band live. Living in New Yark and frequenting the 52nd Street clubs, it was always possibie to hear him with his own or all-star groups. An old friend billy Shaw, his anager, wos kind enough to entrust my company with his copyrights and this began @ long association with his music that resulted in the acquisition of his compositions which compnse this Book, ‘A great deal of preparation went into the production of this book. The actual solos were transcribed by Jamey Aebersold and Ken Sone, a monumental tsk. We are very provd fo be the publisher of the most important collection ever made of the works of Charlie Parker, Parker Michael H_Goldsen Publisher { 3 ; i 3 PartiturasCHARLIE PARKER OMNIBOOK For E Flat Instruments ® Transcribed Exactly From His Recorded Solos CONTENTS Title Page AILLEU-CHA (AH LEV CHA 36 ANOTHER HAIRDO 108 ANTHROPOLOGY 0 ‘AU PRIVAVE (No.1) m AU PRIVAVE (No % BACK HOME BLUES 106 BALLADE 142 BARBADOS 0 BILLIE'S BOUNCE (BILL'S BOUNCE) | § THE BIRD 10 BIRD GETS THE WORM 94 BLOOMDIDO 108 BLUE BIRD. BM BLUES (FAST) 124 BLUES FOR ALICE, 18 BUZZY cc CARD BOARD 2 CELERITY 2 CHASING THE BIRD 82 CHERYL 5 cH cht 2 CONFIRMATION 1 CONSTELLATION 4 ‘COSMIC RAY: 30 DEWEY SQUARE 4 DIVERSE 4 DONNA LEE 8 KC. BLUES » KIM (No D> 1 KIM {No.2} ot KLAUN STANCE Fo KO KO @ LAIRD ‘BAIRD 32 LEAP FROG | 130 MARMADUKE 8 MERRY.GO-ROUND uT MOHAWK (No.1) 35 MOHAWK (No 2) 0 MOOSE, THE MOOCHE, 4 MY LITTLE SUEDE SHORS 120 NOW'S THE TIME (No 1) ™ NOW'S THE TIME (No. 6 ORNITHOLOGY 6 AN OSCAR FOR TREADWELL 2 PARKER'S MOOD 4 PASSPORT 02 PERHAPS, 72 RED CROs: 66 RELAXING WITH LEE or SCRAPPLE FROM THE APPLE 16 GMENT. oi SHAWNUFP 8 SHE ROTE (No 1) 4 SHE ROTE (No 2 36 St 140 STEEPLECHASE, 112 THRIVING FROM A RIFF 60 VISA 100 WARMING UP A RIFF 138 YARDBIRD SUITE 8 Charlie Parker Biography ® Introduction Seale Syllahus 1a ©1078 ATLANTIC MUSIC CORP International Copyright Secured Made in USA,INTRODUCTION The solos in this book represent o cross section of the music of Charlie Parke In presenting these solos, we hope to bring musicions closer fo the true genius of “Bird The solos are in Eb key which means they can be read right out of the book fon Alto of Baritone Saxophone. Other instruments, of course, will have to transpose. We hope to very shortly offer o condensed book of solos which will be transposed to Bb keys for Trumpet, Tenor Sax and Soprano Sox. ‘Most Jozz musicions have learned to play by listening to records and imitating the notes, articulations, vibroto, ete. of the masters. We encourage you to play these with the octual recording, Listen to the record first, then play through the solo slowly, gradually increasing the speed until you ore ot the recorded tempo Bird ployed it. | don't feel the ideo is to try to ploy the solos exactly as Bird did, but rather to find phrases, articulations, scoops, turns, ele. thot you feel you would like 10 incorporate Into your own playing. By being able to see and play the actual notes, it should help speed up the learning process. Many ployers ploy like Bird but relcin their own personality Practice with @ metronome, Each day try to inerease the tempo a litle, all the while retaining the inflections, articulations, ete. thot you would use at the slower tempo. Try practicing some of these solos with the Aebersold Play A Long records. Take 1 slow blues solo in F and play it with one of the records in the series thot has o slow F blues, then move to o record that has « faster F blues. Iti fun to work towards play- ing the solos with Bird long with the cctual 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 seporate solos. When f@ measure occurs without a chord symbol above it, the chord is the same os the meas- Ure preceeding i ‘Most players like to analyze solos in order to find out what the musician is do- ing. Our ears cannot alwoys HEAR what is happening so we slow the music down, transcribe it, onolyze it, practice the licks, potterns ond phrotes we like best, and end up playing them in our own way on our instruments, We have put chord symbols ‘over most all bars fo enable you to anolyze the notes in relation to the chord. Remem- ber, each chord symbol represents a series of tones called a scale. Older musicions Used to improvise mainly on chord tones; Chorlie Parker wos one of the first to broaden that to include scales and substitute scales. For information on seale substitution refer to the Scale Syllabus chart." Bird loved to use the bY over the Dom. 7th chord/seale. The Blues scale and its ecompanying licks was on important port of his music, even ‘when playing songs other than blues! When you find licks or patterns that you enjoy, practice them in several keys 40 the melodie phrase becomes o part of you. It should become automatic in order to really be useable in @ ploying situation. Only @ minimum of articulations have been put in this book. We feel that jazz, being on aural art form, is often times best imitoted by listening over and over, ond then playing the notes the way you hear it on the record. This might seem like the long ‘way to do i, but experience has proven reliable. After all, who would objet to listening anyway? Listening is what music is all about The records from which these solos ore taken are listed at the top of each solo page. They are contained in approximately eight records (some are two record sels) fond most all ore still available, The two record sets are a bargain! We hope you have as much enjoyment with this book as we have hed putting it together. Jamey Aebersold + For SCALE SVETARIIS we nave 142Confirmation By Charlie Parker venve soos 3=208 (4-BAR INTRO) cis Fe7 cts 7 7 | o7 © 1048 ATLANTIC MUSIC CORP TURN PAGE (© Reviewed and atesned 1974 ATLANTIC MUSIC CORP © 1078 ATLANTIC MUSIC CORP All Rights Reserved ww4 Pet - tet Eas pecorino Pe’ D : cp FAT ol Site peer 67 Fae 87 c- he Sr Ee)Moose The Mooche By Charlie Parker ‘cPARKER 407 2224 favoOrnithology By Charlie Parker and Benny Harris ano stone beter d=236 Deus 67 ©1046 ATLANTIC MUSIC CORP © Renewed and assigned 1974 ATLANTIC MU ©1978 ATLANTIC MUSIC’ CORP AIL Rights Reserved ww.Yardbird Suite By Charlie Parker su snus @=224 s7 a7 fal no? FAT D- ee o oe —— f 0.1948 ATLAWTIC MUSIC CORP 1 Renewed and assigned 1974 ATLANTIC MUSIC CORP © lots ATLANTIC MUSIC CORP AL Rights Reserved ww.10 Anthropology By Charlie Parker and John ‘Dizzy’ Gillespie 4=300 (tes A 6 A 7 © 1946 ATLANTIC MUSIC CORP © Renewed and asugned 1974 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Right ReservedTy TURN PAGEa13rs Dewey Square By Charlie Parker dane oes 67 4 maboW d=/a4 C Ar Nv 07 ~~ oT c A P1988 ATLANTIC MUSIC ConP ©1978 ATLANTIC MIUSIC CORP AML Rags Reserved we7 D- 7 bb7 a16 Scrapple From The Apple By Charlie Parker sue met oe oR TVR FAROE AAV we = 200 Ee AT E- te, AT on Sy fet ? é D1GTS ATLANTIC MUSIC. Ct All Highs Tiesowve ww718 Blues For Alice By Charlie Parker veave rveave 55 d= 165 wus ot (Bee et fs Ste + ce 3 5 ot éruasnie wes cone 91975 ATEANTIC. MUSIC COMP Alt Rais eserve wwa D EAT D ce FAT ALSO AVAILABLE CHARLIE PARKER OMNIBOOK For C Instruments (Treble Clef) » Transcribed From His Recorded Solos + Transposed To Concert Key CHARLIE PARKER OMNIBOOK Transposed for B Flat Instruments * Transcribed Exactly From His Recorded Solos (Tenor ond Soprano Sox, Trumpet and Clarinet)20 K.C. Blues By Charlie Parker eave evens. Hot even sues 4=/26 —" ( dayed 2 © 1056 ATLANTIC. MUSIC CORP DIGTS ATLANTIC MUSIC CORP. AI Rights Reserved wwa a7 8 e7 -3—5 nT u THE PROFESSIONAL ARRANGER COMPOSER ———— (BOOK ONE} By Russell Garcia to JONAL beastie © Best selling text book used by leading universities. COMPOSER . Basis for course in Practical Arranging and Composing BOOK ONE in the professional field, For the advanced arranger. Endorsed by leading music educators and compos ond arrangers. RUSSELL GARCIA — AND Now! ———— THE PROFESSIONAL ARRANGER COMPOSER EAA (BOOK TWO) By Russell Garcia fone rows in practical music, ett. © Contains @ 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) Book TWO RUSSELL GARCIA The both books complement each other! You need both books for a complete course! CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hellywood, 90028 Califa2 Celerity By Charlie Parker vaave on verve G A 7 Be €7 : fi 1658 ATLANTIC MUSIC. CORP ©1978 ATLANTIC MUSIC CORP. ll oghts Reserved ww28By Charlie Parker eave sm svat a 42220 o7 E- A 1 67 7 7 So ©1956 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP All Fights Reserved ww25 TAGE DANCE BAND26 Au Privave (No. 2) By Charlie Parker ‘ene soo VERVE 40 VERVE 002 aLues. dezzo 0° 7 o7 o7 o7 3 3 1956 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP A Rights Resesved ww‘Any Musician Can Arrange With This Book! First Chart FIRST | writen by Prot CHART | vanneunoe by | ile ase Wan Alexander (phe rog mate ‘An Important Elementory Arranging Book For Sc ole CConteins two records of charts inthe book! and “Moonen in Vermont for fll rch. snd examples of coftemporary Styles hy 8 leading uatversity rch BARNEY KESSEL says This ooo ‘opens the door fo an arranging ca- ‘eer for musicians Van's fst Book (id ths forme” ar28 Chi Chi By Charlie Parker ‘VERVE 8005/MGM 4949: VERVE 8403 d=220 © 1055 ATLANTIC MUSIC CORP i ATLANTIC. MUSIC CORP Al Rahs Reserved ww29 bb7 Bb7 FD TURN. PAGE30 Chi Chi - cont. & Cosmic Rays By Charlie Parker verve neoverve os A dee Sy 91956 ATLANTIC MUSIC CORP © 1978 ATLANTIC MUSIC. CORP AIL Rights Teservet ww34 Cosmic Rays- cont. (c- (8) B- ‘TRUMPET | onus Fe yn | ‘CLARINETLaird Baird By Charlie Parker ‘venve 2008 PIANO INTRO Fag 87 12/62 mM, © 1956 ATLANTIC MUSIC CORP (© 1975 ATLANTIC MUSIC CORP AL Rights Reserved wwTHE GUITAR o Bomey Kessel ‘BOSSA GUITARRA VENTURE FOUGEa4 She Rote (No. 1) By Charlie Parker j=270 PEDAL CONCERT "F" —S it = Le Tv ) Dtehy tebe £ + _ He t eer ©1096 ATLANTIC MUSIC CORP (© 1978 ATLANTIC MUSIC CORP All Raghts Reserved ww3536 She Rote (No. 2) By Charlie Parker vane sro ae 32265 PEDAL CONCERT “F* i © typ ALuANTIC MUSIC CORP bois ATEANTIC MUSIC CORP All Rights Reserved wwa738 Mohawk (No. 1) By Charlie Parker env snoevenv storvenv 201 2168 ° er 7 or eh 4 3 © 1956 ATLANTIC’ MUSIC. CORP ©1978 ATLANTIC MUSIC CORP All Raghts Reserved, ww39%0 Mohawk (No. 2) By Charlie Parker eave toner en = 164 suues o o © 1956 ATLANTIC MUSIC CORP D19TR ATEANTIC MUSIC CORP AI Rights Reserved ww HREHEBRE RR E BERBER ERE EEE4 A ea eens = ee pom C7An Oscar For Treadwell By Charlie Parker vee sot. vve sour 2301 Avo dz 230 A oe eo | a7 cee. B- © 956 ATLANTIC. MUSIC. CORP ©1978 ATLANTIC MUSIC: CORP AIL Rights Resersed wwaa TURN PAGEAn Oscar For Treadwell - cont. } a 8 © cre Fw e 8 e7 28 3 SER TERROR “TREN EO BRT | PIANO & VOICE ano roves taken. se ae ER ENN AOS RUIN RS RSEa8 Constellation i mae ot 7 TURN PAGE, ©1918 ATLANTIC MUSIC CORP © Renewed and assigned 1976 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP ‘AIL oghts Reserved46 Constellation - cont. e vv 07 ayo FeT eo 8 7 ay Fey 7 z selects [aa Polynesian citer at nan Abe HAWAIIAN HAWAIIAN BOOK ron Was Stace ase HAWAIIAN SINGA'SONG LrRic’ BOOKDonna Lee By Charlie Parker savor not 42230 6 © J9s7 ATLANTIC MUSIC CORP © Renevwed and assigned 1975 ATLANTIC MUSIC CORP ©1978 ATLANTIC MUSIC CORP. ATI Rights Reserved49 2ND CHORUS 67 F D7 67 F320 CHORUS ” 67 TURN PAGE80 Donna Lee - cont. = HAN EXOTIC BOOK HAWAIIAN BOOK FOR ALL ORGANS FOR ALL ORGANSwa Kim (No. 1) By Charlie Parker ave eougrvtve oese 07 8. "7 o 2320 G7 7 c7 (A>) Be 7 Ae o7 TURN PAGE ©1956, ATLANTIC MUSIC: CORP © 1998 ATLANTIC MUSIC CORP All Rughts Reseved ww.Be Kim (No. 1) - cont.6 3 ORCHESTRATIONS eae a Ue a orBa Kim (No. 2) By Charlie Parker ‘VERVE e005 mom 4049 degzo 6 Be 7 A 07 © 1986 ATLANTIC MUSIC CORP 21978 ATLANTIC MUSIC CORP All Rights Reserved ww56 v7 Ae &7 07 TURN PAGEKim (No. 2) - cont.A GUITAR METHOD THAT TEACHES READING & PLAYING INSTANTLY! Endorsed by: BARNEY KESSEL JACK MARSHALL GEORGE RUSSELL Bed by Burdett Mathur A SHORT CUT— —NOT A GIMMICK ‘AN APPROVED MUSICAL METHOD YOU HAVE TO SEE TO BELIEVE! For: THE BEGINNER THE SLOW READER THE “PLAY BY EAR” MUSICIAN Contains there solor—“THESE BOOTS ARE MADE FOR WALKIN" " "LET THE GOOD TIMES ROLL,” HOUSTON,” “TINY BUBBLES,” and 15 other hits58 By Charlie Parker savor i 7 ar A - BLUES ag ay e p 1987 ATLANTIC MUSIC CORP © Renewed ind ag YELANTIC MUSIC CORP Slots ATLANTIC MUSIC CORP All Rughts Reserve59 Guitar Fouos ‘uors” som guar ass umanea snr cuTAR cour guia FOUSY SONGS FOR GUITAR inlet Adee) MT "Patina Langer ee 20 GREAT Tunes FoR GUITAR Px Si 9 et Avargemels by Dan Fo feat enn in Vem OscAR Moone Guan Los GUITAR VENTURE FOLIOS et #1— Hie tie WALK O08 RUN Ie URNEY T THE SARS "ost, MSTNT CUTARS = ORMOND HED, GRINGO GUITAR sotos oun eseous # cn cnenoN ius cao Tevanesy o, GUITAR BOOKS {UITAR TUTOR by Lazo 1 complet Concer Got 1 GUITR by Bure Hee60 Thriving From A Riff By Charlie Parker savor 2201 42280 ¢ A 07 6 A 07 © 1915 ATLANTIC MUSIC CORP © Renewed and assigued 1975 ATLANTIC MUSIC. CORP © gis ATLANTIC MUSIC CORP All Rughts Reservedot be hye c ce 6 A oo 7 6 16 +f62 Ko Ko By Charlie Parker savor 2201 5306 a y © 1946 ATLANTIC MUSIC CORP © Renewed and asgned 1974 ATLANTIC MUSIC CORP ATLANTIC MUSIC CORP All Rights Reserved63 TURN PAGEKo Ko - cont. 665 & (oun soo)”68 Red Cross By Charlie Parker savor mer (HEAD) 6 G 3220 © 1945 ATLANTIC MUSIC CORP © Renewed and asagied 1979 ATLANTIC MUSIC CORP 1978 ATLANTIC MUSIC CORP All Rughts Reserved67 JACKSON BROWNE FOLIO Six Songs From His Hit LP Det, My es + My Opnieg Fre «lies Soy ‘caw 8 hid Ia ese Sg for At Fron iveate For Piano, Voice & Guitar68 Marmaduke © 1948 ATLANTIC MUSIC CORP Renewed and assigned 1978 ATLANTIC MUSIC CORP 15TS ATLANTIC MUSIC CORP, All Hughts Reserved69 Fhe 87 eC) Fe 87 E tor. v (gave) i) ‘euus 18 TURN PAGE70 Marmaduke - cont. 7 E Barbados By Charlie Parker savor ne sues 42/68 o eM ES Et f f Sse PRE Pera ©1948 ATLANTIC MUSIC CORP © Renewed snd ssigned 1976 ATLANTIC MUSIC CORP Plofs ATLANTIC MUSIC CORP All Rights Reserved NJ