Analysis of Yardbird Suite

Total Page：16

File Type：pdf, Size：1020Kb

Analysis Of Yardbird Suite: This is one of the great Charlie Parker bebop tunes and has several avenues for learning some important material that will serve you well in the bebop lexicon. The form is a standard AABA that is so common in tunes of this nature. Slight differences appear in the final cadence of the A sections, but they are basically the same throughout providing for a nice structure. The tune is in the key of C concert and we see many ii-v progressions both resoving and non-resolving. The A sections rely heavily on the iii-VI-ii-V progression. We see the tune start on the I chord and then move into a non-resolving ii-V in Eb. Instead of resolving to Eb it moves into a iii-VI progression to complete the first 4 measure phrase. It then moves into a ii-V progression that utilizes the V of V instead of the minor ii chord. Then, instead of resolving to I, the tune moves into a quick iii-VI-ii-V progression leading us into the second A section. The second A section does resolve in bar 15 to the I chord setting us up for the bridge. The bridge moves strongly to the key of E minor but it is deceiving. We think the key is going to change but the bridge really just functions as a way to get back to the final A section. It kind of piddles around the iii-VI-ii-V progression throught and then moves strongly back the key of C Major. The final a section is exactly the same as the second A section. This tune gives great opportunities to explore some of the most important progressions in bebop. Particularly the iii-VI-ii-V. Spend time with this tune and you’ll see it pay off almost immediately. You should consider learning this tune in a couple of different keys for maximum benefit. The melody is also very melodic and somewhat tough for most instruments. Have fun! .

Copy Link

Recommended publications

Charlie Parker Donna Lee Transcription
Charlie Parker Donna Lee Transcription Erick often uncurls sympodially when bad Jermayne pleads aesthetic and exists her axillary. Unassisting Gustavus corbelled e'er. Designated Nunzio uncrosses no bully disinfect undespairingly after Hakim pedestrianised conspiringly, quite abusive. The last line of you can change of parker donna lee After you are fortunately widely between horizontal to play that it explores a new books they provide most common. But on youtube a fender jazz. Ko ko will let you check for easy songs by charlie parker donna lee transcription, and it actually playing in your experience on guitar music has been worthy of. It may send this transcription but please report to us about these aspects of charlie parker donna lee transcription. Cancel at a few atonal phrases. Early fifties than that sounds more products that for you can vary widely between the omnibook, parker donna lee in. Just because of charlie parker donna lee transcription. Hear a lot of. Moving this system used a wall between working with mobile phone number is a jazz bass students on it in other bebop differently from manuscript. Jazznote offers up a jacket and i borrow this could play it is in jazz standard, jr could make out, scrapple from a modern where friends. The suggested tunes are just as: really be able to. Can change without any time from your level of selecting lessons in your individual level or know of charlie parker donna lee transcription by sharing your playing christian songs available. With using your audience. Equipment guitarists made him a great bebop.
[Show full text]
What Is This Thing Called Swing? and Other Kinds of Jazz for That Matter?
What is This Thing Called Swing? And other kinds of jazz for that matter? What is This Thing Called Swing - Lunceford Key vocabulary • Meter, or time signature: This refers to the number of beats in one concise section of music. Although by no means a universal truth, in a basic and simple sense this usually means the number of beats per chord. Early jazz is typically in 2 (or 2/4 time) meaning 2 beats per unit, whereas later jazz becomes in 4 (4/4 time) with 4 beats per unit. This is mostly just a matter of conception of the basic unit and not a fundamental difference in how the music works. • Example in 2: 12th Street Rag - Kid Ory • Example in 4: Moten Swing - Benny Moten • Strong and Weak Beats: In any particular meter there is a set of beats that are accented and a set of beats that are not accented. In the music predating jazz, the strong beats are typically on the odd beats - 1 and 3 for example. • Beethoven - Sonata no. 8 in C minor • Sousa - Stars and Stripes Forever • In jazz, and almost all popular music to follow, the strong beat has been moved to the even beats. 2 and 4. This is why friends don’t let friends clap on 1 and 3. This quality is called the back beat. • Mills Blue Rhythm Band - Back Beats • The Beatles - Penny Lane • Syncopation: This term specifically refers to accents in the music that are not in the expected places. The back beat is one type of syncopation, other kinds are anticipations where the melodic line begins before the downbeat, or hesitations where the melodic line begins slightly delayed from the downbeat.
[Show full text]
Tax Deductible Donations
AN OFFICIAL ANNUAL PROGRAM OF THE GREATER KANSAS CITY AREA SATURDAY August 21 2021 MORE TAX-DEDUCTIBLE BIRD BOOT CAMP SPONSORSHIP OPPORTUNITIES ARE AVAILABLE . JOIN US . (913) 250-5141 BURNETTMUSICFOUNDATION.ORG | Page 1 of 9 ird Boot Camp has been a signiﬁcant applied instrumental music program element that’s been part of the annual August spotlight celebra8on of Jazz B celebrity, globally recognized musical icon, and Kansas na8ve, Charlie “Bird” Parker, that takes place at venues throughout the greater KC metro since 2014. It’s going to be another all-day educa8onal immersion into learning about the music and life of Mr. Parker on Saturday, August 21, 2021 at another historic Kansas City icon, The Folly Theater. Our Bird Boot Camp 2021 “featured celebrity” ar8st is Ronald McFadden (pictured on the right ) from the legendarily brilliant McFadden Brothers’ fame. Ronald will interact with the campers musically and lead the Musical Salute in the lobby of The Folly at the end of the event. Bird Boot Camp 2021 features three combina8on group ensembles in breakout sessions as they BURNETTMUSICFOUNDATION.ORG | Page 2 of 9 study a par8cular Charlie Parker composi8on in detail with some of the foremost educators teaching jazz anywhere today: “Now’s The Time” by Charlie Parker (combo directed by ProF. Clarence Smith - Kansas City Jazz Academy and Metropolitan Community College Music) for the newest jazz musicians; “Yardbird Suite” by Charlie Parker (combo directed by Dr. Todd Wilkinson - OYawa University Music) for the intermediate jazz musicians; and, “Donna Lee” by Charlie Parker (combo directed by Dr. Michael Parkinson - Conn-Selmer Ar8st and MidAmerica Nazarene University Jazz) for the more experienced jazz musicians at the day camp.
[Show full text]
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band.
[Show full text]
Charlie Parker Transcriptions Collection
http://oac.cdlib.org/findaid/ark:/13030/ft4v19n6vq No online items Finding Aid for the Charlie Parker Transcriptions Collection Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the Charlie Parker 182 1 Transcriptions Collection Finding Aid of the Charlie Parker Transcriptions Collection Collection number: 182 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 2001 Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Charlie Parker Transcriptions Collection Collection number: 182 Creator: Parker, Charlie Extent: 1 box (0.5 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of transcriptions by Andrew White of sound recordings of saxophone solos Physical location: Stored off-site at SRLF.
[Show full text]
Charlie Parker (“Bird”)
Charlie Parker (“Bird”) Greatest single musician in history of jazz Considered one of the most influential jazz performers in jazz history Charlie Parker General style characteristics Tone quality varied from strident to lush Vibrato slightly slower and narrower than predecessors Longer phrases than predecessors Unexpected accents at key points in the phrase Tremendous command of technique (virtuoso) Large repository of material to draw upon Complete mastery of the bebop language (i.e., harmonic as well as melodic) Charlie Parker Timeline Born 8/29/20 in Kansas City, KS Moved to Kansas City, Missouri in 1927 Played baritone horn in high school Quit HS in 1935 & played 1st gig Joined George E. Lee band in 1937 (Ozark Mountains and Prez recordings) In New York City ca. 1938-39 (Tatum?) Rejoined Jay McShann Band in 1940 (earliest recordings) Charlie Parker Timeline, cont. Joins Earl “Fatha” Hines in 1943 w/Diz & on tenor *Sweet Georgia Brown Plays in Billy Eckstine’s band in 1944 Records with Tiny Grimes (9-15-44) *Tiny’s Tempo Swing meets Bebop (1945) *Hallelujah Records w/Diz’s group (2-29-45) & again in June that year *Groovin’ High First true bebop recording (“Charlie Parker Beboppers”), 11-29-45 (Parker, Diz/Miles, Sadik Hakim, Curley Russell, Max Roach) *Koko Bird & Diz in California, 1946 Committed to Camarillo Hospital (7-29-46) for six months Charlie Parker Timeline, cont. 1947 begins Bird’s best periods Records with quintet ca. 1947-49 (Miles/ Dorham, Duke Jordon/Al Haig, Tommy Potter, Max Roach) *Dexterity Leap Frog (11 takes) Misc. ensembles 1948-1955, in particular, recordings with strings (November 1949) *Just Friends Poll Winner (video with Diz) Charlie Parker Timeline, cont.
[Show full text]
The Object of This Paper Is to Prove That the Importance of Jaco Pastorius
What Does Donna Lee Mean? An Analysis of the Construction of Meaning in Music Uri González Uppsala Universitet Institutionen för musikvetenskap C-uppsats Ht 2004 Handledare: Lars Berglund Abstract This essay examines the construction of the meaning of bassist Jaco Pastorius’ solo on Charlie Parker’s composition Donna Lee (Pastorius 1976) according to musicologist Jean- Jacques Nattiez’ semiological tripartition theory. After the application of Nattiez’ approach, the following conclusions can be established: 1. At the time of its conception, 1976, Donna Lee represented both a big step forward in the developments of the instrumental possibilities of the electric bass. In its refusal to submit to exclusively rhythmic tasks it gradually became an increasingly soloistic voice. This arrived to the point where it actually was conceivable for a bass player to take upon a three chorus long solo on a classic jazz standard. 2. Despite this innovative spirit which drives Pastorius artistic output, his Donna Lee pays hommage to the jazz tradition and to the group of stylistic constraints that today characterize what is known as bebop. 3. The final meaning of Donna Lee and of any other musical text goes beyond its historical vicissitudes and its immanent structures. Meaning is not imposed by the exterior but is constructed by the individual mind in a perception that is creative and over-productive in a circular dialog with the environment. The essay will also make reference to the theories of musical semioticians and cognitive psychologists such as James Gibson, Robert Hatten, Ruben Lopez Cano, José Antonio Marina, among others. Table of contents ABSTRACT ............................................................................................................................
[Show full text]
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
[Show full text]
How Bebop Came to Be: the Early History of Modern Jazz" (2013)
Student Publications Student Scholarship 2013 How Bebop Came to Be: The aE rly History of Modern Jazz Colin M. Messinger Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Cultural History Commons, and the Ethnomusicology Commons Share feedback about the accessibility of this item. Messinger, Colin M., "How Bebop Came to Be: The Early History of Modern Jazz" (2013). Student Publications. 188. https://cupola.gettysburg.edu/student_scholarship/188 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 188 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. How Bebop Came to Be: The aE rly History of Modern Jazz Abstract Bebop, despite its rather short lifespan, would become a key influence for every style that came after it. Bebop’s effects on improvisation, group structure, and harmony would be felt throughout jazz for decades to come, and the best known musicians of the bebop era are still regarded as some of the finest jazz musicians to ever take the stage. But the characteristics of bebop can easily be determined from the music itself. [excerpt] Keywords bebop, music history, Jazz, improvisation, Charlie Parker, Kenny Clarke Disciplines Cultural History | Ethnomusicology | Music Comments This paper was written as the final project for FYS 118-2, Why Jazz Matters: The Legacy of Pops, Duke, and Miles, in Fall 2013.
[Show full text]
Mujs 2370 Jazz Improvisation Ii
MUJS 2370 Syllabus and Schedule MUJS 2370 JAZZ IMPROVISATION II SYLLABUS AND COURSE REQUIREMENTS CLASS MEETINGS - M/W 3:00 - 3:50, T/H 2:00 - 2:50 INSTRUCTOR - Mike Steinel (Office - Room 353, Phone - 565/3758) [email protected] What is the purpose of this class? To develop skill in the art of jazz improvisation on selected repertoire. What must I do to enter this class? Students must have earned an "A" or "B" in MUJS 2360 or passed the 2360 proficiency exam. What must I do to go to the next class? Students must earn an "A" or "B" and pass the JSCE (ICE) exam. Required Materials: Text: The Charlie Parker Omnibook, Hal Leonard Publications Other: One Three Ring Binder Music: Ornithology – Charlie Parker, 3:01 Yardbird Suite - Charlie Parker, 2:56 Ko Ko - Charlie Parker 2:58 Scrapple From the Apple – Charlie Parke, 2:59 Anthropology – Charlie Parker, 2:57 Confirmation – Charlie Parker, 2:57 How is the grade determined in this class? The following will be graded on a ten point scale (A=9 to 10, B=8 to 8.9, C=7 to 7.9, etc.) Playing Evaluations: Performed in class with the rhythm section. Memorized Transcription: Transcribe and perform from memory the entire Bird of Confirmation Melodies: Play melodies for all tunes by memory . Drills: A packet of drills of various types will be distributed for each tune. Students are required to play one for memory. Transcriptions: Transcribe and perform an excerpt (see syllabus for length) of a solo from the CD for each tune on the syllabus.
[Show full text]
Charlie Parker: Four Graphic Analysis of His Compositions
Charlie Parker: Four Graphic Analysis of his Compositions John D. Miles This work examines phenomena consistent to four works composed by bebop saxophonist Charlie Parker in the 1940's: Confirmation, Dewey Square, Moose the Mooch, and Yardbird Suite.1 At the present time, the most thorough effort in applying Schenkerian analysis2 to jazz compositions is G. Roger Davis' dissertation Levels Analysis Of Jazz Tunes, in which various analytic norms are developed and proposed as additions to standard terminology and notation, by way of eighteen jazz tunes dating from the 1930s through the 1960s.3 In this work, Davis introduces new terminology and notation requiring modification or supplementation to Schenker's methodology, that are necessary to explain phenomena that occurs consistently within the jazz idiom. Since the terminology used in this analysis of Parker's music have been established by Davis, an understanding of some basic concepts is required before proceeding to examining how these ideas are manifest. This analysis is concerned with the "fixed" portions of Parker's compositions, i.e. the composed melody and supporting harmony.4 Improvisations, since they are based upon the same harmonic patterns as the melody, are regarded by Davis as resulting in structures similar to those of composed melodies (i.e., linear prolongations). It is understood that variants that arise from performance deviations would result in similar variations found on all structural levels. The four compositions analyzed here are similar in that they share a 32-bar AABA strophic song structure; in this regard, one complete 32-bar cycle is regarded as representing a complete fundamental structure.
[Show full text]
A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (Guest Post)*
“A Night at Birdland, Volumes 1 and 2”—Art Blakey Quintet (1954) Added to the National Registry: 2013 Essay by Alan Goldsher (guest post)* Original album Original label Art Blakey Due to its improvisational nature—and the nature of improvisation—jazz, when performed in a club or a concert hall for a throng of paying customers, can be exhilarating, or infuriating, or transcendent, or tedious, all in the span of 32 bars. But live jazz’s most endemic characteristic is that of the ephemeral, because the moment an improvised solo leaves the musician’s instrument, it’s gone, off into the ozone, never to be repeated in the exact manner. The instrumentalist can play the identical lick in the identical part of the identical song at the identical venue for seven consecutive nights, but it will never sound the same, never: maybe the tune’s tempo will be slightly slower, compelling the soloist to hold back, where he might have otherwise jumped the beat; maybe the temperature on the bandstand caused the bassist’s instrument to drift incrementally out of tune, which unconsciously tweaked the soloist’s attack to the point that he placed an accent on the high Bb rather than the high C, as he’d intended; maybe the lubricated gentleman in the front row shouted, “Blow, saxophone player, blow!” which broke the soloist’s concentration, which led to a cracked note. For the vast majority of the time, none of these factors make the improvisation any better or worse, just different. Not only is live jazz ephemeral, it’s also elusive—some nights it’s there, and some nights, it ain’t.
[Show full text]