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Melody

Solo Begins 0:38s

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2nd Chorus 0:53

1:06

1:21

1:35

1:49

2:03

2:18

2:31

Melody

J

C 7

J

J J

b b#

b b #

J ...bb bb

b b3 3 3 3

J

F 7

J

jJ

b b#

J J .b b b b b b

b b n n #

bbb > J.bb b b3 3 3 3

J

C 7

J

J

b Jb Jb b b b #

b b> .b b b b

b b b n b n

. bbb > bb b b3 3 3 3

b b 3

F-7 C 7

b b b 3

b .b jb> b J

bb

bbb. b Jnnn> b b b b n

# bb >

b

Solo by Jonathan Kreisberg from Nine Stories WideTranscribed by Jake Hanlon

Relaxin' at CamarilloRelaxin' at CamarilloRelaxin' at CamarilloRelaxin' at Camarillo

quotes melody at beginning of solo

pickup

pn

saw tooth chromatic targetting of G repetition of motivemotif up a 4th augmented

melodic foreshadowing of harmonic contentcontent in ms1 system 7 repeats descending in M2nds with slight variation rhythmically

motif on the beatmotif off the beat

motif on the beat

exact quote of the melody followed by slight variation

use of the P4 interval displaced on and off the beat descending in 2nds

6 note sequence built off P4's moving in major 3rds

off the beat on the beatoff the beat

on the beat off the

ascending triad based sequence with angula/chromaticr passing noteschromatics at peek of the line

tension! tense cluster displaced on vs off the beat

on the beat on the beat on the beoff the beat off the beat off the beat

chord motif moves

1/2 s

fast tripelets build to climax rhythmically, melodically and harmonically finishing, and acenting the peek of the piece

Ascending minor arpeggios ascending in M2s

brings solo to a clBlue

MUJS 5780 Projedue: 10/27/2006

composition by Charlie Parker

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5

J

F 7

J

b

b

w

b b

....

J b

b> #

Jbb

.

b.

b b F7b9

b b

j b

b b n

b b b3

b J # b b b n b b

J#

bb > b> Jn

b b

C 7

w

# >

#

# b

.

b Jb b

b> J

Jb

# j b 3E-7 A 7

# j b n 3

j b

#

# b

J b

j b

#

. j .b

b

J

# J n

2Relaxin' at Camarillo

lrg interval leaps early in solo lets ideas rest chord change made with a 3rd to b

C7 bebop

F major triad

F minor triadaggresive accent to phraseending preceeded by chromaticapproach

hint at changerunning

use of blues vocabangulartwist into A7 bebop lic

use of minor and major blues vocabularyshort comps of P4

held chord provides rhythmicrelease from 4 bars of rhtymic tension

use of blues vocabulary octave A's split bthe b9

complex motif answered with simple blues line similar approach to ms 9 as seenin system5

blues inflected vocabulary after complex and chromatic sequence

use of 9 and b9 in same linemotif continues up another 1/2 step

intensity grows

Blues releases tension

harmonic generalization

more blues phrasing switching from Minor to Major blues vocab

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9

JD-7

JJ

#

b n b b

b n b b m

b n J

b J

J3

.

jJ JbG 7

j J Jb

j#

b #

b>

b n b

J

# b

J b

J J3

J

b JE-7 A 7

b J

b

b b

b b b b n n n b Jbb>

3 3

b .

D 7 G 7

j J

b b b # n n

# n b #

b b n n

b

b n b

b n b

3 3

j

b ..

.

3Relaxin' at Camarillo

similar contour to melody line use of space

Change Running

7 - 3 resolution into a 3rd to b9 linechromatic approach

descending chromatisismdouble enclosure of E

at top of next system

chromatic dip encirlced Eb

angular phrase

3 to b9 Chromatically approached non-diatonic triad imposition

Ab major against A7 E major against D7

see ms 9 of system 5

1/2 resolution into

a 3rd -> b9 leap

1/2 step chord change, b9 to b3

same rhythm as previous ms.

heavily chromatic phrase

C major triads followed by a 2nd triad in 2nd inversion with passing tones

more spaceuse of space

slight variation on ms 9 sys5 and 6

Minor 7 arpeggios descending in M3rds variation on motif, but also chromatic

approach to a

3rd - b9D-7 B-7 Ab-7F-7

D-7Ab becomes note of great importance in this idea

1/2 steps enclose Ab to bring attention to itHints at next chorus rhythmic intensity with repeated tripelet pattern

simple blues phrase to singal the end of the solo as dynamics die down