Charlie Parker: “An Oscar For Treadwell”

December 13, 2009

Page 43 of the Eb Charlie Parker Omnibook contains this cool phrase in lines 12 & 13.  Why does this particular lick sound so nice over a V7 chord?   One reason is that the 3rd of the chord (TI), the 7th of the chord (FA), and the 13th of the chord (MI) are prominently featured on the strong beats 1, 3, & 1 respectively.  These are the most interesting notes in the chord.   FA & TI form an attractive tritone, while MI is a major 7th above FA.  The line also has an interesting contour.

Although Bird’s solo on “An Oscar For Treadwell” is in the key of A major (on alto sax), you will notice that the lick shown below - which occurs in the first 2 measures of the bridge – is in the key of F#.  For the benefit of New Ears Resolution students, i have written in the solfége syllables below the notes.  (The syllable “SE” – pronounced “say” - is between SO and FA.)   In the next few days, i will publish the lick in all 12 keys and provide a recording you can practice along with.

The more you study the work of the masters such as Charlie Parker, the richer your own musical vocabulary will become.  Playing the licks in all 12 keys develops your “hand / ear co-ordination” and prevents you from falling into “finger familiarity” ruts.


Ralph Moore’s Tenor Solo on “SOS”

October 17, 2009

Are you hip to Ralph Moore?  He has a fabulous sound and great ideas.  The following lick is taken from Ralph Moore’s solo on the tune “SOS” from the CD “Moore Makes 4″ by the Ray Brown Trio with Ralph Moore.  This is an amazing solo, packed with wonderful lyricism and dazzling technique.  For details, see the book “Ralph Moore Jazz Tenor Solos” Transcribed by Bill Sears, published by Corybant Productions, Inc., 1994.  I have recorded the lick in all 12 keys, so you can play along with the recording.  On the following page is the link to the recording along with a chart showing the lick in all 12 keys.  Below is an analysis of the various key centers traversed by the lick.  You will note that the melody & the chord changes both adhere strictly to this key center scheme.  (See “New Ears Resolution” for details on this analysis technique.)
MOORE SOS 1ST TIME

 

 

 

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Roll Over Redmond

September 9, 2009

Lick from Bird’s Solo on “Cosmic Rays”

August 22, 2009

This phrase from Charlie Parker’s solo on his composition “Cosmic Rays” is 1 more example of his stunning melodic gift.   Study a whole encyclopedia of great Bird creations in “The Charlie Parker Omnibook.”  Click on the arrow below to hear the audio file, which was created from the original recording slowed down & transposed into all 12 keys.

BIRD COSMIC RAYS


CELERITY: Bird transposes up a half step

July 29, 2009

This wonderful phrase illustrates how Charlie Parker (“YARDBIRD” or “BIRD”) could take a simple chord progression (such as III minor / bIII minor / II minor) and transform it into an opportunity to modulate.   In this case, he raises the key by a half-step, a favorite be-bop modulation.  (Thus, the bIII minor becomes a II minor in the key a half-step up from the original key.)   To solo properly over this progression, you need to use the Ab major scale for beats 3 & 4 of measure 1, the G major scale for the rest of bars 1 & 2.  Try it!   As always, try to master the exercise without resorting to the printed page.      Click here to hear the audio
BIRD CELERITY no key sigs


ANTHROPOLOGY (Charlie Parker)

July 2, 2009

There are so many great phrases in this classic solo.   This one deserves attention because of its rhythmic & melodic vitality and its effortless harmonic insinuation.   Click below to see the phrase in all 12 keys.  However, it is better to practice your ear training by figuring out the lick through  melodic extrapolation.   Click here to purchase the Charlie Parker Omnibook with its 142 pages of heads & transcribed solos by Bird.  Click here to hear a play-along version.    (To slow it down or change the key, download the free program “Best Practice.”)ANTHROPOLOGY by CHARLIE PARKER (BIRD) line 14

 

 

 

 

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Half Diminished (Minor Seven, Flat Five)

June 30, 2009

This arpeggio is very useful over a V7 (or a V9) chord.   Notice that the iteration beginning on A# is actually in the key of C major.  The A# is LI (sharp 6) in the major scale.    For “New Ears Resolution” students, also note that the key change is indicated by the presence of a “pivot note.”   Marked as (TI=LI), this notation is understood to mean “The note B natural, (TI in the old key of C major) will now become LI in the new key of Db major.”   Once grasped, this understanding of modulation as described by a pivot note is a very powerful concept when one attempts to navigate the changes of a song with many internal key changes (such as “All the Things You Are.”)  

TI RE FA LA FA RE


MIXOLYDIAN TRIPLET BLUES LICK

June 25, 2009

You can play along with the background track to this lick.  It’s an enjoyable & useful figure.  Note that the background track starts with a count & a 4-bar introduction before you begin playing.   Please email me, if you want a complimentary MIDI file or the Band in a Box file (to change tempo, style, or key).  The background track  is available here in 2 formats:

MIXOLYDIAN TRIPLETS

For “New Ears Resolution” students, listen for the II-V progression in the background track (Cm7-F7, etc.).  The lick is easier to learn, if you hear it as:  ti do li ti so fa la mi re so mi fa la li ti mi di re so .


COLTRANE’S FAVORITE LICK

June 25, 2009

This lick is in the John Coltrane solo to “I Love You.”  Coltrane used this lick throughout his career.   Many of his disciples also picked up on the lick.   i work on it in 8 keys (the range shown for the first lick is 8va).     For variety, try playing it in retrograde (backwards) as shown in the second example below. 

 COLTRANE LICK


MIXOLYDIAN BLUES LICK

June 25, 2009

For those studying “New Ears Resolution,” this blues lick is in the mixolydian mode.   (See the chart showing the modes at the end of your book.)  Try thinking of this melody first in mixolydian and then in ionian.  Both sets of syllables are shown.  Which ever set of syllables feels more comfortable to your ear, that is the set you should use.   Try to play the melody as smoothly as possible, in order to realize the underlying swing.   As with all exercises, start slowly and smoothly, gradually increasing the tempo.  I play this at dotted quarter = 150.

MIXOLYDIAN BLUES LICK


A brief definition of jazz improvisation

June 22, 2009

Improvisation (or “improv”) is the art of creating a unique, new musical statement on the spur of the moment.  This does not mean that your utterance is entirely without precedent.  Jazz improvisation is a product of the individual’s history, temperament, technical facility, and mood, as well as the thrust of the composition which houses the performance, the history and legacy of jazz as a whole and ones chosen sub-genre in particular.


KEYS TO IMPROV – V to I LICK

June 21, 2009

Here is a lick you can practice which fits nicely over the V7 – I (“five to one” or “SO7 to DO”) chord progression in major.    I like to swing it, but you can also play it straight.  You can experiment with different combinations of articulation, phrasing, and accent.   I always start these exercises slowly and gradually increase the tempo.  Right now, i am playing this one at quarter note = 115.    The range of starting notes for sax is given below the exercise.    If you are studying the “New Ears Resolution” ear training method, think of this lick in terms of:   Li Ti Re Ra Ti Do Ri Mi La Fi So Fa Le So Do.

SWINGIN 12 TONE ROW


KEYS TO IMPROV, EXERCISE IN FOURTHS

June 20, 2009

Practicing these exercises in all 12 keys will help strengthen your ear and build your “ear / finger co-ordination.”   Try to play them withOUT looking at the chart whenever possible.  Start with the metronome at a slow tempo and execute the notes as cleanly as possible with smooth finger motion.   Gradually increase the tempo, as you become comfortable with the notes.

 FOUR UP, FIVE DOWN

 


Two New CDs

January 30, 2009

cb_rh_175Craig’s new worship cd  

“Renewed Hope” offers a wonderful
selection of new worship music
composed by Craig, backed by HONK,
and featuring vocals by Rick Tatum. 

(Click here for more info.)

To listen, download, or purchase, click here.

 

 

cb_sky

Can pop hits grow up to be
jazz standards?
 

Skykomish offers 10 of them, recast
in fresh new settings, along with a
pair of original blues charts. 

 

(Click here for more info.) 

To listen, download, or purchase, click here.

 

Songs by:

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New Jazz Blog

May 29, 2008

Here is a new resource for jazz fans.  Check out http://jazzbreak2.blogspot.com:80/


OVERCOMING FLAPPY FINGERS

March 20, 2008

 From a quick viewing of YouTube video footage, it appears that Coltrane’s fingers may move further from the keys than do Bird’s.  Do you agree?

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“Capistrano Sessions” & “Larger Than Jazz” now available as MP3 downloads from CDBaby

March 12, 2008

You can now download MP3 copies of our 2 best-selling CDs from CD Baby for $9.00 per CD.

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Jazz Musicians as Role Models

October 2, 2007

Is it possible for an older jazz musician to influence younger players in a constructive way?  Read the rest of this entry »


Charlie Parker Teaches Focus

September 29, 2007

Have you tried reading the charts in the Charlie Parker Omnibook?  I find that some of them require a level of focused attention that is quite difficult to maintain over a 3-hour practice session.

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Cool uses for the Charlie Parker Omni Book

September 23, 2007

There are so many wonderful phrases that Bird created. When one phrase in particular captures my imagination, i try learning it in all 12 keys. Read the rest of this entry »


Modulation

September 6, 2007

Do you ever grow attached to a key and find yourself resisting modulation into a new key?

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On Tone Control and Playing in Tune

August 14, 2007

Written by noted woodwind artist & teacher Signe Crawford for the “Keys to Music” collection of jazz etudes.

Think of tone as your material for creating music.
If you can create a good tone, good pitches will follow.
If you can create a good pitch, a good tone will follow.

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Can You Learn to Play by Ear?

July 5, 2007

YES YOU CAN!     How do i know?  Because I have taught over 100 musicians to do it over the past 15 years.  These are musicians of all ages and levels of ability on various instruments, and you can be one of them.

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Psych Yourself Up to Play Fast Tempos!

June 22, 2007

I’m not by nature a fast player.  I don’t do anything fast except breakfast.

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Latest Update on Sticky Saxophone Pads

June 20, 2007

Every sax player I have ever known struggles with the G# key sticking in the closed position.    updated May 15, 2008

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Choosing repertoire for a working jazz combo

June 2, 2007

How can you choose songs you love to play, the band loves to play, AND the audience loves to listen to?  Read the rest of this entry »


Practice Priorities

May 23, 2007

How you can develop an effective practice routine and get the most benefit from your practice time

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