Out of Nowhere Boston 1954 - Jake Dester · 2020. 11. 12. · Slurs Growl Occasionally, Bird will...
Transcript of Out of Nowhere Boston 1954 - Jake Dester · 2020. 11. 12. · Slurs Growl Occasionally, Bird will...
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Jake Dester’s Charlie Parker Transcriptions Bebop Articulation Key:
Unaccented
A note with no articulation marking is tongued neutrally like “Dah”.
Staccato
A note marked with a staccato is short and can be thought of as
“Dot”.
Accent
A note with an accent can be thought of has having a “T” attack, like
“Tah”.
Ghost Notes
A note (or group of notes) in parentheses is ghosted, meaning you put your
tongue on the reed, but the sound of the pitche(s) still come(s) through,
think an “L” sound as in “doodle”.
A scoop = lip up to the notated pitch while simultaneously fingering from a grace note a half-step below. For the sake of singing the line, you can
think “Dwah” (or “Twah” if it’s accented).
Scoop
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Slurs
Growl
Occasionally, Bird will “Growl”. This effect is made by singing while playing a
given pitch. Where I could tell what note Bird is singing, I notated it. Where I
couldn’t tell: your guess is as good as mine, but I think he’s often singing
the pitch he’s playing. It is also possible, especially with B’s (and potentially
B-flat, C, and C-sharp) in the staff that he is fingering the note an 8ve below and getting an overtone effect.
Marcato
A marcato articulation can be thought of as “Tot”.
Accented Staccato
Sometimes I have notated an accent and staccato on the same note. This
can also be thought of as “Tot”.
Legato
A legato marking means that the note has a neutral “Dah” articulation and
has its full rhythmic value. I often use this to specify that a quarter note is
not to be played short.
A slur covering a group of notes means that the notes within that slur are not
tongued. In the instance that you have ghost notes followed by non-ghosted
notes (as shown above), you are not re-attacking the non-ghosted note(s), but
rather just taking your tongue off of the reed making a sound like “La”.
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False Fingering
A plus sign indicates a “false” fingering. Bird often does this on D’s in the staff, basically using the high D fingering without the 8ve key.
“X” Notehead
When a note has an “X” for a note-head, that means that the note was
cracked or didn’t come through with fullness of tone. It could also be that a
lower pitch was fingered, but an overtone sounded; it’s hard to distinguish.
Overtones
When a note has a secondary note beneath it with a diamond-shaped note-
head, that means that the lower pitch is fingered, but the higher pitch is sounding.
A note followed by a downward curve means that it is lipped down in pitch.
Lip Down/Lip Fall
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& #### 44 7q = 148Intro
Ó ‰ œ> œn( ) œ œn^ œ> œ> œ> >̇3
E±71
Jœ .œ œ œ œn>
& ####11 Jœ .œn> œ ŒG-7
Œ œ œb> œ œn œ œn> œn œn( ) œ œ> œ œ( )C 7
œ œ œ- œ- ˙3
E±7
& ####14 œ œ œ œ( )œ œ œ œ œ œ( ) œ# œ œ œ( ) jœ‹ œ ˙ Œ3
G#-7 Ó ‰ œ œ œ œ œ3
C#7 b9
& ####17 œ œ œn œ( ) œ̂ ‰ Jœ3
F#-7 œ œn œ( ) œ# œ( ) jœ‹ œ œ̂ œ œ( )3
C#7 b9 . .˙ œ œF#-7
& ####20 œ- Œ ‰ œ œ( ) œ> œ œ( ) œ œn^ ‰ jœ# Jœ œn> >̇3
C 7
Œ œ œ( ) œn œ œ( ) œ œ>3
.˙ ŒG#-7 G 7
& ####24 Œ œ> œ œ œ( ) œn> œ œb> œ œ œ œ( )œ œ( )3
F#-7 F 7 œ œn> œ( œ# ) œ. jœ# ˙E±7
œ œ œ( œ ) œ̂ œ. jœ# œ> œ3 3
& ####27 œ œ( ) œn> Jœ .œG-7
Œ œb œ( ) œ œn œb> œ œn œb( ) œb œn œn œn( ) œb œ>3
C 7
Out of Nowhere
by Johnny Green (1908-1989)& Edward Heyman (1907-1981)
Alto Sax
transcribed by Jake Dester
as played by Charlie Parker (1920-1955) January 1954on In Boston released 1996
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& ####29 œ œ#( ) œ. ‰ œ œ Jœ. Œ JœE±7
œ( ) œ œ œ œ œ( ) œ jœ‹ œ> œ œ œ> œ ŒG#-7
& ####32 Ó ‰ œ œ( ) œn œ jœ# œ3
C#7 b9 œ œ œn œ( ) œ> œ̂ ‰ jœ# Jœ3
F#-7 œ œ œn œ( ) œ# œ( ) jœ‹ œ- ‰ œ œ3
3
C#7 b9
& ####35 œ> œn œb œ( )˙ Œ3
F#-7
Ó ‰ œ œn œ̂A-7 D 7
‰ Jœ œ jœ# œ Jœ œ- jœ# JœnG#-7 G o
œ jœ‹ œ ˙ ŒF#-7 B 7
& ####39 Œ œ œ œ œ( ) œ> œ œ œ œn œ( ) œ œnE±7 œ œn œ œ( ) œ œ œ( ) œ œ œ œ œ œ( ) œ œn> œ( œ# )3
F#-7 B 7
& #### Jœ. ‰ Œ ‰ jœn Jœ# œ œ œ œ( )3
E±72 œ> œ œ œn> œ œ œ œ( ) œ3
œn> œn . œb œn )( œ> œ( ) œ œn^ œn3 3
G-7
& ####44 œ œn( ) œn œn( ) œ> Ó3
C 7
Œ ‰ œ œ œ> œ œ œn œ œ3 3 3
E±7 œ œ œ> œ Ó3
& ####47 Œ œ# œn œ( ) œn œ>œ œ( ) œ̂ Œ3
G#-7
Œ œ œ( ) ˙n ÿ jœ# œ œ>3
C#7 b9 œ œ œ#( ) œ œ œ œ( )F#-7
Jœn.œ> Œ ‰ Jœ
C#7 b9
2 Out of Nowhere - transc. Dester
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& ####Straight
51 œ œ œ œ œ# œ. Ó3
F#-7
Ó ‰ œ. œn . œn é œn . œn . œ. œn . œn> œ œ œn( ) œn . œ.C 7
& #### Straight54 œn œ( ) œn œ œ œb œn( ) œn œn œ> œb œ œ œ. Ó ‰ Jœ. œ. œ œG#-7 G 7
& ####56 œ œ œn œb( ) œ œ œ œ( ) œ œ œ œ( ) œ œ> œn .F#-7 F 7
œ# œ œ œ œ( ) œ> œ( ) œ> œ œn œ( ) œ> œ‹ œ.E±7
& ####58
œ- Œ Ó œ> œn œ œn( )œ œ> œb œ œn( ) œn> œb œ œn( ) œb> œb œ œb( )3
G-7
jœn œb . Œ ‰ jœ œ- jœ#( )C 7
& ####61 .œ œ> œ#( œn )œ ˙E±7
Ó ‰ œ œ œ> œ œ( ) œ œn‡ œ œ jœ‹ œG#-7 .œ œ> œ( ) œ# œn> œ( œn )C#7 b9
& ####65 œ œn> œ œ̂ Œ ‰ œn œ#( )F#-7 œn œ œ#( œ ) >̇ Œ
C#7 b9 Œ ‰ œn œ#( ) œ> œ œ( ) œ œF#-7
& ####68 Jœ œ œn œ œn( ) jœ œ̂ Œ3 3
3A-7 D 7
œ. œ œ œ> œ( ) œn> œn œb-3
G#-7 G o œ> œ œ( ) œ œ ˙F#-7 B 7
3Out of Nowhere - transc. Dester
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& ####71 Œ ‰ œ œn œ œb> œ œE±7
œ( ) œ œ œ œ œ( ) œ œn> œn œ œ> œ33F#-7 B 7
jœ‹ œ- Œ ÓE±7Trumpet Solo
& ####74Piano Solo 7Bass Solo
Ó Œ ‰ jœ#F#-7 F 7
œ œ> œ œb œ( )œ ˙3
E±7Head Out
& ####346 œ ‰ Jœ œ œ œ œ œn œ( ) jœ œn œ œ œ œnG-7 ˙ Œ ‰ jœ# JœC 7
Jœœ> œb œ( )Jœ .œE±7
& ####350 Œ ‰ Jœ œ œ œ œ œ œ#( ) œ œ> œ œ œ>G#-7
˙ ÓC#7 b9
.œ jœ Jœ œ œ œnF#-7
& ####354 œ Œ Œ œ œnC#7 b9 œ œ œ œ( ) œ œ> œ œ.
3
F#-7 .œn œ œn( ) œ œ̂ Œ3
A-7 D 7
& ####357 Œ œ̂ œ œ œ- œ œ̂3
G#-7 G o‰ œ> œb œ( ) œ œ œ jœ‹ œF#-7 B 7 wE
±7 w
4 Out of Nowhere - transc. Dester
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