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Charlie Parker
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nylenny



Joined: 31 Mar 2007
Posts: 291

PostPosted: Tue Dec 02, 2008 11:47 am    Post subject: Charlie Parker Reply with quote

Wow!

That's all I can say now that I've started my first serious Bird transcription - Ornithology. . I am learning so much.

First of all, I am gaining insight into Mark's fingerings. They are to capture the subtle inflection's of Parker's style. Especially the slides and slurs.

The language is amazing too.
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corky4strings



Joined: 21 May 2008
Posts: 109
Location: plain, pa.

PostPosted: Tue Dec 02, 2008 7:25 pm    Post subject: Reply with quote

len i'm ordering the charlie parker omni book for bass clef. i'll let you know how it is.
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corky




let your fingers do the walking i do
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Mark
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PostPosted: Tue Dec 02, 2008 11:02 pm    Post subject: Re: Bird for Bass Reply with quote

corky4strings wrote:
len i'm ordering the charlie parker omni book for bass clef. i'll let you know how it is.


Corky,

The Omnibook is pretty good, although for those new to Parker it can be a bit confusing in trying to separate the heads from the solos.

However, what I would highly recommend is the Jamey Aebersold "All Bird" edition (Vol. 6), which includes charts for bass clef. Great classic Bird heads like Anthropology, Donna Lee, Ornithology, Yardbird Suite, Billie's Bounce, Dewey Square, Scrapple from the Apple, etc. But the best thing about the package is that the piano trio on the CD features Ron Carter!

Man, I learned SO much from transcribing and studying every single one of his jazz walks, which is fairly easy to do since the bass is isolated on one channel. To this day I feel his impact whenever I'm playing a walking line. It was better than taking private lessons with him. Wink What was amusing was seeing a book of his transcribed walks from that volume rear its head on the market just 5-6 months after I had transcribed the entire collection, but there's nothing like doing it yourself to really get the language in your ear and under your fingers.

- Mark
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nylenny



Joined: 31 Mar 2007
Posts: 291

PostPosted: Tue Dec 02, 2008 11:19 pm    Post subject: Reply with quote

Thanks Mark. I'll check out the Aebersold volume.

Corky, I've used the Omnibook to check my transcription. So far, it is fairly accurate. The production quality (printing, binding, four measures per system, CD reference) is disappointing. Also, there are no key signatures, so readability is poor.
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corky4strings



Joined: 21 May 2008
Posts: 109
Location: plain, pa.

PostPosted: Wed Dec 03, 2008 1:15 am    Post subject: Reply with quote

mark that was my second choice of books. so now it will be my first. thanks for helping.
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corky




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kbgtr001



Joined: 04 May 2007
Posts: 122

PostPosted: Wed Dec 03, 2008 5:59 am    Post subject: Re: Charlie Parker Reply with quote

Mark wrote:
Corky,

...However, what I would highly recommend is the Jamey Aebersold "All Bird" edition (Vol. 6), which includes charts for bass clef. Great classic Bird heads like Anthropology, Donna Lee, Ornithology, Yardbird Suite, Billie's Bounce, Dewey Square, Scrapple from the Apple, etc. But the best thing about the package is that the piano trio on the CD features Ron Carter!

Man, I learned SO much from transcribing and studying every single one of his jazz walks, which is fairly easy to do since the bass is isolated on one channel. To this day I feel his impact whenever I'm playing a walking line. It was better than taking private lessons with him. Wink What was amusing was seeing a book of his transcribed walks from that volume rear its head on the market just 5-6 months after I had transcribed the entire collection, but there's nothing like doing it yourself to really get the language in your ear and under your fingers.

Mark,

Thanks for the info on the Aebersold Volume 6. It's high on my 'to-do' list. I have the 'Rufus Read from volumes 1 and 3,
and Tyrone Wheeler from volume 54. They're sitting on my transcription 'back burner' for now; other projects and priorities are on the radar
(sorry for the mixed metaphors. 'Wink')

Since we're on the topic, here is my reply (to Corky) from a prior thread in 'Best Study Practices.'
May be relevant to the current discussion.


From the Jamey Aebersold web site;

Charlie Parker: The Complete Savoy and Dial Master Takes - CD

Perfect companion for the famous "Charlie Parker Omnibook."

The tracks are available individually at the iTunes store and I'm sure other
places too.

-Kb

----------------------------------------

This fantastic collection contains 65 tracks (26 from the ever popular Charlie Parker Omnibook.) Includes 3 CDs.
These are The complete live performances on Savoy, including Royal Roost (1948 - 1949), Carnegie Hall (1947) and Chicago (1950).

* Solo can be found in the "Charlie Parker Omnibook."
(Partial CD Track listing; only the Charlie Parker Omnibook tracks)

CD#1
*Red Cross *Warmin' Up a Riff *Billie's Bounce *Now's the Time
*Thrivin' from a Riff *Koko *Moose the Mooche *Yardbird Suite *Ornithology

CD#2
*Donna Lee *Chasin' the Bird *Cheryl *Buzzy

CD#3
*Scrapple from the Apple *Another Hair Do *Bluebird *Klaunstance
*Bird Gets the Worm *Barbados *Au-Leu-Cha *Constellation *Parker's Mood
*Perhaps *Marmaduke *Steeplechase *Merry Go Round

-


Last edited by kbgtr001 on Wed Dec 03, 2008 4:20 pm; edited 4 times in total
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Mark
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PostPosted: Wed Dec 03, 2008 6:26 am    Post subject: Re: Charlie Parker Reply with quote

kbgtr001 wrote:
Thanks for the info the Aebersold Volume 6. It's high on my 'to-do' list. I have the 'Rufus Read form volumes 1 and 3,
and Tyrone Wheeler from volume 54.


Kb,

The J/A series is a gold mine for bass players, and also for guitarists who wish to transcribe and translate jazz piano voicings, which is something I've done quite a bit of over the years.

Since we're on the subject, the Sonny Rollins book/disc also features Rufus Reid on bass. The Duke Ellington edition (Vol. 12) features Ron Carter again, and some of the best bass work in the series is done by Sam Jones (composer of Unit Seven) on the Cannonball Adderly set (Vol. 13). The tone alone on Sam's upright is worth the price of admission. Wink

- Mark
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kbgtr001



Joined: 04 May 2007
Posts: 122

PostPosted: Wed Dec 03, 2008 7:43 am    Post subject: Re: Charlie Parker Reply with quote

Mark wrote:

Kb,

The J/A series is a gold mine for bass players, and also for guitarists who wish to transcribe and translate jazz piano voicings, which is something I've done quite a bit of over the years.


Mark,

The 'jazz piano voicings' issue is a question I've considered; I don't
think it has received much 'air time' in the transcription discussions. Have you
put as much focus on piano voicings as bass or sax lines? Are you translating piano voicings
to guitar language or working it more for other purposes?

-Kb
-


Last edited by kbgtr001 on Wed Dec 03, 2008 4:22 pm; edited 2 times in total
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Mark
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PostPosted: Wed Dec 03, 2008 8:40 am    Post subject: Re: Charlie Parker Reply with quote

kbgtr001 wrote:
The 'jazz piano voicings' issue is a question I've considered; I don't think it has received much 'air time' in the transcription discussions. Have you put as much focus on piano voicings as bass or sax lines? Are you translating piano voicings to guitar language or it working for more for other purposes?


Kb,

As you probably know, literal translations from piano to guitar are doable but not always as pleasing to the ear due to the tight voicings. Some jazz guitarists are really fascinated by this sort of thing, but my main purpose has always been to capture the basic voice-leading and harmonic subs, then adapt it "my way" based on traditional guitar voicings in the spirit of Wes, Pass, etc.

As an example, here's an upper-string voicing move in the key of G that I use frequently for slow blues:

G7 (first bar): G13 = x x 3 4 5 3, then G13 = x x 9 10 10 12, then Db13 = x x 3 4 4 6, resolving to...

C7 (second bar): C9 = x x 2 3 3 3, then C13 = x x 8 9 10 8, then C#dim7 = x x 8 9 8 9, resolving back to...

G7 (third bar): G9 = x x 9 10 10 10, and so on. Of course, the phrasing can vary, but you'll get the general idea once you have it down.

The front end was inspired by a J/A piano part that leaped out at me due to the dynamic, bluesy melody created by the dramatic skips from G to high E to Bb back to G on the change to the IV chord. It's a great lick, and applying the Wes-based voicings adds some really nice texture to it. This kind of chord improv stuff used to mystify me, but once you know enough language and have some arranging under your belt, it's pretty easy to come up with something that makes a compelling, memorable statement. All for now...

- Mark
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nylenny



Joined: 31 Mar 2007
Posts: 291

PostPosted: Wed Dec 03, 2008 10:41 am    Post subject: Reply with quote

Mark, thanks for that cool chord idea. I remember one of your lessons that uses some of these moves. I've always enjoyed your chord ideas.
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corky4strings



Joined: 21 May 2008
Posts: 109
Location: plain, pa.

PostPosted: Wed Dec 03, 2008 7:04 pm    Post subject: Reply with quote

kb and mark thanks for all the great info. now i know what to tell my sisters to get me for xmas. i have thej/a catolog but wasn't sure what to buy. when i transcribe i'm having problems writting it on paper so like len said he used it to check his work. i can hear it and play it but i want to be able to write it also. so i have my work cut out for myself.
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corky




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Larry_DC



Joined: 31 Mar 2007
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PostPosted: Wed Dec 03, 2008 8:27 pm    Post subject: Reply with quote

Corky - what are you using to write? I use Sibelius G7 and can highly recommend it for ease of use.
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corky4strings



Joined: 21 May 2008
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PostPosted: Wed Dec 03, 2008 10:30 pm    Post subject: Reply with quote

i use transcribe to listen, and write on music paper. and go thru a lot of pencils and erasers.
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corky




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Mark
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PostPosted: Wed Dec 03, 2008 10:44 pm    Post subject: Re: Chord Solos Reply with quote

nylenny wrote:
Mark, thanks for that cool chord idea. I remember one of your lessons that uses some of these moves. I've always enjoyed your chord ideas.


Len,

My pleasure, man. This is yet another valuable example of transcribing combined with arranging as a means to an end. Instead of this or that hot blues lick from any number of artists, you end up with a collection of mini chord moves that accomplish the same thing, but on a bigger, more percussive guitar front.

To hear a brief related excerpt from my "Things Ain't What They Used To Be" blues solo, click here. Key of Bb and entering the Eb7 (IV) at bar five. Single-note meets double-stop, then a series of upper-string chords capturing a lick that resolves back to the Bb7 chord at bar seven. Note the "rustle effect" on that chord a la Oscar, then back to single-note (sort of like a "Chord Lick Sandwich" Laughing) . SO many possibilities to explore...

- Mark
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kbgtr001



Joined: 04 May 2007
Posts: 122

PostPosted: Fri Dec 05, 2008 12:10 am    Post subject: Reply with quote

corky4strings wrote:
i use transcribe to listen, and write on music paper. and go thru a lot of pencils and erasers.

Corky,

I'm in your camp with the pencil and paper approach.
I buy the eraser top mulitpacks. I use the software (Finale) to 'make it pretty' after the fact;
if it's necessary. Software notation consumes valuable time.

-Kb
-
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