Charlie Parker Transcription - Little Willie Leaps

Just finished another Charlie Parker transcription.  This one is of Charlie Parker playing Tenor Saxophone on Little Willie Leaps, a tune based on All God's Chillun' Got Rhythm.  I was interested to find that Parker, while a great improvisor, still used many of the same phrases over repeated progressions on the tune.  It just goes to show that even the best improvisors don't mind working some stuff out beforehand.

Here is the transcription:

Lesson #4: Keith Jarret Plays Be-Bop

Here's a line a transcribed off of Keith Jarrett's Quartet record Bop-Be. I've always been a fan of the standards trio with Gary Peacock and Jack DeJohnette. Keith's approach to standards is so invigorating and fresh that I always am getting something new from his improvising. Even after hundreds of listens, I still have months where I don't even take Whisper Not or Live @ the Blue Note out of my CD player.

Here are some tips for practicing this line in all 12 keys:
1) Work out solid fingerings for each key if you are having trouble with certain chromatic passages. Don't be afraid to change them, but once you find one that works try to stick with it.
2) Play the right hand melody with simple root-third or root-seventh shell voicings. If you are having trouble, just play the root of each chord instead.
3) Always practice with a metronome. No one is judging you for playing slow. Speed up the tempo when you can play it effortlessly.
4) The last step is memorization. If you've been working slowly and thoughtfully you might have already achieved this. If not, try singing the melodies or visualizing the notes on the keyboard away from the piano.

I plan on making some practice tips videos later on. For now, enjoy the free lesson!

Lesson #4: Keith Jarrett Plays Be-Bop

Charlie Parker - Ornithology - Transcription

Here's my transcription of Charlie Parker's solo on Ornithology. I learned it completely by ear and did not write any of it down first. I used the program Transcribe to help me slow down parts I had trouble with. A great way to learn solos is to first slowly sing them with the recording, then gradually learn to sing them without it. I learned this from Lennie Tristano's teachings and have learned every solo similarly since. Enjoy my transcription of Charlie Parker's solo on Ornithology!





Also check out my Chi-Chi Transcription

Charlie Parker: Chi-Chi Transcription

Here's my transcription of Charlie Parker's blues tune Chi-Chi.



Don't forget to check out my Ornithology Transcription

Bud Powell Celia Transcription (Analysis)

I will try to include three or four interesting insights I have taken from the transcriptions I will be posting here. Hopefully these will help you when trying to incorporate aspects of the transcription in to your own playing.

Double Time Segments (m.m. 1-2 and 9-10)

Examine how Powell connects arpeggios, chromatic fragments, and scale fragments in these segments. For example, at m.m. 9 there are three groups of sixteenth notes. The first is an arpeggio, second is a chromatic fragment, and third is a scale fragment. When combined with proper resolution on downbeats, this method can be very effective for bop playing.

Rhythmic Repitition (m.m. 7-8)

Powell starts of with a rhythmic idea in m.m. 7 and uses it again in m.m. 8. In each, he keeps the rhythm and shape of the line but switches his note choice to fit the harmony of the tune. Developing a single idea throughout an entire solo is a great way to become a better improvisor. Some modern masters of this technique are Brad Mehldau and Keith Jarrett.

Resolution to chord tones on the "strong beats" (Entire Transcription)

The strongest beats of a measure (in 4/4 time) are always going to be 1 and 3, with beat 1 as the strongest beat. By playing chord tones on these beats you can improvise much stronger melodies and provide a better harmonic grounding for the listener. Check out how Powell leads up to resolutions on beats 1 and 3. One of the most effective ways to resolve is by leading a whole step or half step away from your target note. All "bop" players do this! Especially over iii-VI-ii-V and ii-V progressions.

Resolution choices (Entire Transcription)

I took a short inventory of which chord tones Powell resolves to on beats 1 and 3 throughout the entire transcription. Can you guess the most used? It's the third. This shouldn't come as much of a surprise considering the 3rd basically decides whether any chord will have a minor or major sound. The next two, which were basically tied, were 5ths and 7ths, followed by 9ths. Resolving to extensions of the chords (9th, 11th, 13th) is a good way to make your lines more interesting or out sounding.

Powell uses the root on beat 1 (the strongest beat) only once throughout the entire transcription! Remember, you don't need to emphasize the root if you have a bass player. He will do it for you (most of the time...).

Enjoy the transcription!

Bud Powell Celia Transcription (Introduction)

I recently read an interview featuring modern jazz giant, and favorite pianist of mine, Brad Mehldau.  (A link to the interview can be found at the bottom of this post)  In the interview he mentions being influenced just as much by horn players as by pianists. When the interviewer asked which horn player's were the most influential he responded with...