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Charlie Parker

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l'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. I could hear it sometimes but I couldn't play it. ... I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.
--
On his personal stylistic breakthrough, quoted in Hear Me Talkin' to Ya (1955) edited by Nat Hentoff and Nat Shapiro, . p 354

 
Charlie Parker

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Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear... Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.

 
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One more thing: don’t spend too much time merely reading. The best part of this work is the play, so play and enjoy!

 
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