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Made in U. 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. Most Jazz musicians have learned to play by listening to records and imitating the notes, articulations, vibrato, etc. We encourage you to play these with the actual recording. 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. 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. 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. 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? 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.


Charlie Parker - Omnibook, Bass Clef

Books by Charlie Parker. If you are a seller for this product, would you like to suggest updates through seller support? He introduced revolutionary harmonic parrker including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. To see what your friends thought of this book, please sign up.







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