Aebersold and Slone's collection of Parker's improvisations offers sixty transcriptions, establishing it as one of the most comprehensive presentations of Parker's mature musical style in the format of music texts. Four editions are available, including the C instrument editions in treble-clef and in bass-clef, the B-flat instrument edition, and the E-flat instrument edition. A brief biographical note of Parker's life written by Michael H. Goldsen is also included.

Applebaum's collection of Bebop themes, assimilated by the author from Parker's improvisations, are arranged for combined instrumentations played in unison with piano accompaniment, including Dum Dum, Half-Pass-Fass, Yashitaki-Mikimoto, Throckmorton the Plumber, and Tukki-Wukki.

Baker's monograph offers brief biographical data of Parker, a presentation of Parker's musical innovation, the characteristic features of the Bebop genre, and other related discussions. The transcriptions and brief analyses of Parker's improvisations are provided, including Out of Nowhere, dated 18 December 1948, Now's the Time, dated 30 July 1953, Hot House, dated 23 October 1950, and Perdido, dated 15 May 1953. A classified catalog of more than 130 melodic figures, a bibliography, a discography, and a list of available transcriptions of Parker's improvisations are also presented. It is noted that the recording date for this particular version of Hot House should be 23 October 1950, two years later than the provided data. Transcriptions are provided for E-flat instruments.

Christiansen's work offers a practical catalog of a collection of over 100 melodic figures by Parker that are categorized based upon the harmonic scheme: minor chord, dominant seventh chord, ii-V in one measure, ii-V in two measures, major chord, and minor ii-V. Five editions are provided to suit the needs of different instrumentalists, including the guitar edition, C instrument edition in treble-clef, C instrument edition in bass-clef, E-flat instrument edition, and B-flat instrument edition. An accompaniment compact disc is also included.
Review by Bob Lark in Instrumentalist 56, January 2002, 68.

The first installment of Atlantic Music's collections of Parker's themes and improvisations arranged for solo piano, including Au Privave, Back Home Blues, The Bird, Blues for Alice, Card Board, Chi Chi, Confirmation, Kim, Moose the Mooche, My Little Suede Shoes, An Oscar for Treadwell, Ornithology, Segment, Visa, and Yardbird Suite.

Grigson's annotated collection of Parker's transcribed improvisations, including Au Privave, take 2, dated 17 January 1951, Scrapple from the Apple, take B, dated 4 November 1947, Moose the Mooche, take 2, master take, dated 28 March 1946, Ornithology, dated 22 September 1953, Blues for Alice, dated 8 August 1951, and Confirmation, take 3, master take, dated 4 August 1953. A brief biography of Parker, a short presentation of Parker's musical style, and the analytical discussions regarding theme and improvisation for each entry are presented. Grigson also offers a catalog of selected phrases by Parker's in six groups, including double-time phrases, dominant extension and alteration phrases, blues phrases, scalar passages, arpeggiation, and rhythmic devices. Transcriptions are provided for E-flat instruments and B-flat instruments.
Review by Scott Deveaux in Notes 52, no. 1 (September 1995): 311-313.

Henriksson offers a theoretical discussions of Parker's compositional style by using functional harmony theory to analyze Parker's 37 Bebop themes. Discussions as to the concepts and methods of jazz melodic and harmonic analyses, Parker's life and his compositional style, and the application of using functional harmony theory in analyzing Parker's compositions are offered. Parker's 37 compositions are categorized into four groups based upon the use of the chord frame, including 19 themes based upon twelve-bar blues form, eight themes based upon the chord progression of I Got Rhythm, four themes based upon the chord progressions of jazz standards, and six original compositions, providing in-depth systematic analyses. Transcriptions of Parker’s themes, provided for C instruments, are taken from Jamey Aebersold and Ken Slone’s Charlie Parker Omnibook.

Isacoff’s book offers a collection fourteen improvisations by Parker with a brief biography, outlining Parker’s life. The first six improvisations, taken from the 1949 J. J. Robbins & Sons publication Be Bop Instrumental Choruses for Alto Sax were arranged by Parker and transcribed by Walter Fuller, including Oo Bop Sh-Bam, Good Dues Blues, One Bass Hit, Ray's Idea, That's Earl, Brother, and Things to Come. Hot House and A Night In Tunisia, both dated 15 May 1593, Rocker, dated 16 September 1950, Out of Nowhere, take A, dated 4 November 1947, 52nd Street Theme, dated 15 or 16 May 1950, Groovin' High, dated 11 December 1948, Bird of Paradise, take A, and Bongo Bop, take A, both dated 28 October 1947. It is noted that Red Rodney or Fats Navarro shared the frontline with Parker in this particular version of 52nd Street Theme, instead of Miles Davis as claimed by Isacoff. Transcriptions are provided for E-flat instruments.

Isacoff offers a musical survey of fifteen transcriptions of the styles of jazz alto saxophonists, ranging from Johnny Hodges, Charlie Parker, Cannonball Adderley, Paul Desmond, Eric Dolphy, to Phil Woods. Eight transcriptions of Parker’s improvisations with brief annotation are given, including Klact-oveededs-tene, take B, dated 4 November 1947; two versions of I’m in the Mood for Love, the first version, take 2, master take, is dated late summer 1950, while the second version is dated late March or early April 1950; Hot House, dated 15 May 1953; How High the Moon, dated 12 December 1948; Stella by Starlight, dated 22 or 23 January 1952; East of the Sun, dated late summer 1950; and Summertime, dated 30 November 1949. Parker’s phrases in V-I and ii-V-I chord progressions, along with the phrases of other alto saxophonists, are cataloged for comparative analysis in the last section of the book. Transcriptions are provided for E-flat instruments.

Lawrence, a notable jazz scholar, offers the most comprehensive monograph of Parker’s music and life. The book, first published in 1988, has been expanded into the current revised edition to include significant discoveries, such as the Dean Benedetti recording, and updates of the biographical and discographical data based upon current research. The study follows Parker’s recorded materials in a chronological order and can be used as a detailed discography, as Koch includes details of personnel and recording data for each recorded session. Koch provides analytical discussions, detailing significant archivements in each recorded example of Parker’s music. The biographical data is also attached or inserted between sessions, guiding the reader through events and their effects associated with recorded materials. Appendix A is a revised version of Koch’s article "Ornithology: A Study of Charlie Parker's Music" published as two parts in Journal of Jazz Studies in 1974 and 1975. Appendix B contains Koch’s codification of Parker’s works. A cataglozied bibliography is also include. Two details and useful indexes, the Index of Song Titles and the General Index, are included. A complete transcription of Parker’s improvisation on Embraceable You, take 1, dated October 1947, is included in appendix A. Transcribed musical examples and the solo transcription are provided for C instruments.
Review by K. R. Dietrich in Choice 37, no. 4 (Dec 1999): 732, and George L. Starks, Jr. in Black Perspective In Music 17, no. 1/2 (1989): 183 185. It is noted that the Starks’s review is based upon the first edition published in 1988.

Martin's work, with forewords by Lewis Porter and James Patrick, offers arguments as to the thematic relationships in Parker's improvisations by using Schenkerian analysis to demonstrate the background thematic materials. Discussions as to the strophic form, the harmonic prolongation, the voice-leading models, the thematic patterns, motives, and formulas and their uses in jazz improvisations are presented by Schenkerian graphic analyses. In the main portion of the work, Martin attempts to provide theoretical evidence to demonstrate the thematic relationships of Parker's music, which are categorized into three groups. In group one, compositions that are based upon the chord frame of I Got Rhythm are addressed, including Red Cross, Shaw 'Nuff, Thrivin' on a Riff, Crazeology, Wee, and Lester Leaps In. In group two, compositions that are based upon the chord frames of jazz standards are addressed, including Embraceable You, Just Friend, Ko Ko, and Star Eyes. In group three, compositions that are based upon the twelve-bar blues form are addressed, including Cool Blues, Perhaps, Au Privave, Blues for Alice, Bongo Bop, Now's the Time, Cheryl, and Parker's Mood. Further discussions of Parker's improvisational style include Parker's technique of quotation, thematic reference, and formula, along with the presentations of Parker's impact and other topics. A bibliography and a discography are also included. Transcriptions are provided for C instruments.
Review by Steve Larson in Music Theory Spectrum 21 (Spring 1999): 110-121.

McKellen's collection of nine of Parker's improvisations is designed for B-flat and C instruments with piano accompaniment, including Dizzy Atmosphere, dated 28 February 1945, Groovin' High (short version), dated 28 February 1945, Groovin' High (Long Version), dated 11 December 1948, Hootie Blues, dated 30 April 1941, I'll Remember April, take 3, master take, dated late summer 1950, Jumpn' the Blues, dated 2 July 1942, Lover Man, dated 8 August 1951, A Night in Tunisia, dated 28 March 1946, and Salt Peanuts, dated 11 May 1945. It is noted that the recording date for Groovin' High (Long Version) should be 11 December 1948, instead of 1949 as claimed.

Pendleton offers fifteen transcriptions by Charlie Parker, Cannonball Adderley, Bob Mover, Jim Snidero, and Dick Oats. Parker's improvisations include All the Things You Are, Hot House, Perdido, and A Night in Tunisia, all taken from the Massey Hall concert recording, dated 15 May 1953. Transcriptions are provided for E-flat instruments.

The second installment of Atlantic Music’s collections of Parker's themes and improvisations arranged for solo piano, including Au Privave, Bloomdido, Blue, Celebrity, Cosmic Rays, Dewey Square, K.C. Blues, Laird Baird, Leap Frog, Mohawk, Passport, Relaxing with Lee, Scrapple from the Apple, She Rote, and Si Si.

The third installment of Atlantic Music's collections of Parker's themes and improvisations arranged for solo piano, including Ah-Leu-Cha, Anthropology, Barbados, Billie's Bounce, Cheryl, Constellation, Donna Lee, Ko Ko, Marmaduke, Now's the Time, Perhaps, Red Cross, Shaw ‘Nuff, Steeplechase, and Thriving from a Riff.

Voelpel's collection of annotated transcriptions of Parker's improvisations, including Billie's Bounce, take 5, master take, dated 26 November 1945, Anthropology, as known as Thriving on a Riff, take 3, master take, dated 26 November 1945, Ko Ko, take 2, master take, dated 26 November 1945, Moose the Mooche, take 2, master take, dated 28 March 1946, Ornithology, take 4, master take, dated 28 March 1946, Donna Lee, take 5, master take, dated 8 May 1947, Scrapple from the Apple, take C, master take, dated 4 November 1947, Parker's Mood, take 5, master take, dated 18 September 1948, Bloomdido, dated 6 June 1950, Kim, take 2, master take, dated 30 December 1952, Now's the Time, dated 30 July 1953, Confirmation, take 3, master take, dated 20 July 1953. A brief discussion of Parker's music, a bibliography, and a discography are also included. Voelpel also prepares a compact disc containing the replications of Parker’s original improvisations. The contents of this work are derived from Voelpel’s pervious publication Charlie Parker for Guitar. Transcriptions are provided for E-flat instruments.
Review by James Lambert in Instrumentalist 58, January 2004, 75.

Voelpel's collection of annotated transcriptions of Parker's improvisations for guitarists, including Billie's Bounce, take 5, master take, dated 26 November 1945, Anthropology, as known as Thriving on a Riff, take 3, master take, dated 26 November 1945, Ko Ko, take 2, master take, dated 26 November 1945, Moose the Mooche, take 2, master take, dated 28 March 1946, Ornithology, take 4, master take, dated 28 March 1946, Donna Lee, take 5, master take, dated 8 May 1947, Scrapple from the Apple, take C, master take, dated 4 November 1947, Parker's Mood, take 5, master take, dated 18 September 1948, Bloomdido, dated 6 June 1950, Kim, take 2, master take, dated 30 December 1952, Now's the Time, dated 30 July 1953, Confirmation, take 3, master take, dated 20 July 1953. A brief discussion of Parker's music, a bibliography, and a discography are also included. Transcriptions are provided for C instruments with TAB notation.

White's collection consists of 259 transcriptions of Parker's improvisations. The collection is cataloged into four volumes. The first volume contains 66 improvisations transcribed from the primary sources released by Savoy records. The second volume 63 improvisations transcribed from the primary sources released by the Dial records. The third volume contains 66 improvisations transcribed from the primary sources released by Verve records. The fourth volume contains 47 improvisations transcribed from Parker's recordings of live performances. The complete catalog of White's collection can be purchased separately which also provided useful incipits associated with each improvisation. Transcriptions are provided for E-flat instruments.

Williams offers a collection of annotated transcriptions of Parker's improvisations, including Billie's Bounce, take 1, dated 26 November 1945, Ornithology, dated 24 December 1949, Yardbird Suite, take 4, master take, dated 28 March 1946, Now's the Time, dated 24 December 1949, Donna Lee, take 2, dated 8 May 1947, and Anthropology, WMCA radio broadcast, dated 5 March 1949. A compact disc with the replications of Parker’s originals and play-a-long tracks in regular and slower tempi, a biography of Parker' life, and a brief discussion of Parker's musical style are included. Both an alto saxophone E-flat edition and tenor saxophone B-flat edition are available. It is noted that the date as to this particular version of Anthropology is 5 March 1949, instead of 3 May 1949 as cited in the publication.

Woideck, also the editor of 1998 publication The Charlie Parker Companion: Six Decades of Commentary, offers an exemplary monograph of Parker’s music and life, demonstrating excellent scholarship in jazz research. Woideck uses his 1989 master thesis “The First Style-Period (1940-1943) and Early Life of Saxophonist Charlie Parker” as the foundation and expands it into a book-length study which is divided into two parts. The first part is the forty-eight page biographical outline of Parker’s life. In the second part of the study, Woideck divides Parker’s musical career into four periods and presents Parker’s musical activities and achievements with analytical approach in a chronological order. One additional feature of Woideck’s work is that the timings of the tracks in compact discs, associated with the musical excerpts, are indicated, providing the needed data to locate the music quickly. A discography is included as appendix A. Appendix B contains four transcriptions of Parker’s improvisations, including Honey & Body, a recording by the amateur recordist Clarence Davis, dated approximately 1940, Oh, Lady Be Good, dated 28 January1946, Parker’s Mood, take 5, dated 18 September 1948, Just Friends, dated 30 November 1949. Transcriptions are provided for C instruments.
Review by Rick Anderson in Library Journal 121, no. 16 (October 1996): 81, Richard Lawn in Notes 54, no. 2 (1997): 495-496, Robert Rawlins in College Music Symposium 38 (1998): 146-150, and Genevieve Stuttaford in Publishers Weekly 243, no. 44 (October 1996): 67.

Austin offers a quick summary of jazz styles from prior to World War I to World War II and beyond, analyzing the music of representative figures such as Louis Armstrong, Duke Ellington, and Charlie Parker. The transcription of Parker's Perhaps, take 1, dated 24 September 1948, with Roman numeral analysis, is presented with the discussion of Parker's musical style. The author also provides evidence to demonstrate the influence of Bartók's harmony upon Parker. Transcription is provided for C instruments.

Berliner offers a brief discussion of the improvisational exercises derived from the analyses of Parker's music suggested by Barry Harris, using part of Sweet Georgia Brown to demonstrate the improvisational treatments.

The analytical discussion regarding the musical association between Young and his influencer, C-melody saxophonist Frank Trumbauer, and between Young and Parker. Cash lists several accounts to support that the hypothesis that Young was Parker’s primary influencer, including Parker’s own accounts. A comparative study of Young’s improvisation on Oh, Lady Be Good, dated 9 October 1936, and Parker’s version, dated 30 November 1940, is presented. The transcriptions of one chorus of Parker’s solo and two choruses of Young’s solo are notated in parallel to demonstrate Young’s influence upon Parker’s early work. Cash also points out Parker’s imitation of Young’s riff-based counterpart performed against Carl Smith’s solo. Transcriptions are provided for C instruments.

Dankworth offers a theoretical summary of the musical characteristics of Bebop, using the theme of Parker’s Anthropology as a valid example to demonstrate the melodic, harmonic, and rhythmic treatments that are common in Bebop.

The author provides biographical and theoretical discussions of Parker's improvisations and his association with Tiny Grimes, analyzing Red Cross, Tiny's Tempo, and Romance Without Finance, all dated 15 September 1944. The comparative study between Red Cross, take 1and take 2, is also presented. The author also studies Parker's formulaic approach by comparing the melodic figures used in the same measures from different takes and choruses of Tiny's Tempo, all dated 15 September 1944. Transcriptions are provided for C instruments.

The author offers biographical data of Parker's early career and his association with Jay McShann, presenting a briefly annotated transcription of Parker's solo on Hootie Blues, dated 30 April 1941. Transcription is provided for C instruments.

The author compares the improvisations of Dizzy Gillespie and Parker by using a privately recorded version of Sweet Georgia Brown, dated 15 February 1943. Discussions of Parker's accentuation technique and the musical resemblance between Parker and Coleman Hawkins are also addressed.

Feather’s work, with a foreword by Dizzy Gillespie, offers a comprehensive summary of jazz improvisation, discussing the improvisational characteristics of Louis Armstrong, Roy Eldridge, Dizzy Gillespie, Jay Jay Johnson, Jack Teagarden, Benny Goodman, Buddy de Franco, Johnny Hodges, Charlie Parker, Coleman Hawkins, Lester Young, Teddy Wilson, Art Tatum, Bud Powell, Charlie Christian, John Coltrane, and Ornette Coleman. The descriptive analysis of Parker’s improvisation on Bloomdido, 3th chorus, dated 6 June 1950, is given. Transcriptions are provided for E-flat instruments.

Giddins provides presentations of Parker's biographical data, outlining Parker's musical career with theoretical annotations focusing upon several important performing sessions. Annotated transcriptions of Parker's Ko Ko, take 2, master take, dated 26 November 1945, Lady Be Good, dated 28 January 1946, Embraceable You, take A, dated 28 October 1947, and Parker's Mood, take 5, master take, dated 18 September 1948, are presented. Some other theoretical annotations address Parker's improvisational innovations, including the opening phrase of The Jumpin' Blues, which was later adopted into the opening statement found in Ornithology, and Parker's four bars solo break on A Night in Tunisia, take 1, dated 28 March 1946. Transcriptions are provided for C instruments. It is noted that the date of this particular version of Lady Be Good is 28 January 1946, instead of March 1946 as claimed.

Gilbert provides Schenkerian analysis of popular songs’ linear progressions and linear intervallic patterns, including All the Things You Are, How High the Moon and other songs that are part of Parker’s repertoire. A summary of functional harmony analysis of popular songs is also provided. The author constantly associates the popular songs with Parker’s original compositions based upon borrowed chord frames to provide critical comparison.]

In discussing Young’s melodic preference in the improvisations, Gottlieb offers the evidence indicating the similarity between Young’s melodic motive in Shoe Shine Boy, mm. 23-24, 2nd chorus, recorded on 9 November 1936, and Parker’s opening phrase in the theme of Ornithology.

Hodeir offers an annotated transcription of Parker's Ornithology, take 4, master take, dated 28 March 1946. Transcription is provided for E-flat instruments.

Hodeir’s work, introduced by Martin Williams, offers brief discussions of the relationship between melodic lines and associated harmonic syntaxes by examining Parker’s improvisation in Cool Blues, take D, dated 19 February 1947. Transcription is provided for C instruments.

Kernfeld offers discussions of the adaptation of the popular songs' formal structure in jazz, presenting a crucial comparison between Ray Noble's piano arrangement of Cherokee with the piano and bass part of Parker's Ko Ko, take 2, master take, dated 26 November 1945, transcribed by Thomas Owens, revealing the harmony discrepancies between Cherokee and Ko Ko, which adopts the chord frame of the former. Transcriptions are provided for C instruments.

Kernfeld discusses the formulaic improvisations by examining Parker's use of recurring formulas in KoKo, take 2, master take, dated 26 November 1945. Transcription is provided for C instruments.

Komara offers a discussion of Parker’s Dial studio session repertory. He presents tables regarding the associations between the repertories and their harmonic sources.

Komara compiles a comprehensive index of transcriptions of Parker’s improvisations during his association with Dial records.

Mehegan discusses the rhythmic units and its range favored by jazz musicians of different eras. Performance transcriptions of twelve-bar blues by Bessie Smith, King Oliver, Louis Armstrong, Jack Teagarden, Benny Goodman, Lester Young, Dizzy Gillespie, Charlie Parker, Miles Davis, Horace Silver, and Hampton Hawes are illustrated to offer a schematic presentation of the rhythmic unites in the single line improvisation. Transcriptions are provided for C instruments.

Mehegan offers transcriptions of improvisations by Lester Young, Dizzy Gillespie, Miles Davis, Bud Powell, and Charlie Parker. Parker's Ko Ko, take 2, master take, dated 26 November 1945, and Just Friend, dated 30 November 1949, are presented with Roman numeral analysis. Transcriptions are provided for C instruments.

Owens offers a discussion of Parker's musical style, including tone quality, rhythmic approach, accentuation technique, and formulaic approach, serving as a quick summary of Owens' definitive dissertation "Charlie Parker: Techniques of Improvisation." The author also presents arguments as to Parker's skill in applying preplanned melodic formula to improvisations, using Ko Ko as an example. Parker's improvisations on Parker's Mood, take 1, dated 18 September 1948, Ornithology, take 4, and A Night in Tunisia, take1, take 4, and take 5, all dated 28 March 1946, are also addressed. A brief discography as to the representative recordings of Parker's improvisational style is included.
Review by Henry Martin in Annual Review of Jazz Studies 7 (1996): 263-268, and Robert Rawlins in Current Musicology 62 (1998): 101-109.

The author presents the arguments regarding Donna Lee, whose authorship is the subject of scholarly debate. Several accounts are given attributing Donna Lee to Miles Davis. The author also discusses the practice regarding the titles of compositions that were often assigned by the recorder producer, the practice of "contrafact" in Bebop Era and its two catalogs, "metamorphic contrafact " and "minimal contrafact," providing Donna Lee and Ice Freezes Red as valid examples, respectively. The harmonic syntax relationship between Donna Lee, James Hanley's Back Home Again in Indiana, and Paul Dresser's On the Banks of the Wabash, the association between the theme of Donna Lee and Fat Navarro's improvisation in Ice Freezes Red, which was recorded four months earlier, and other related topics are addressed. The theme and annotated transcriptions of Davis' improvisation in Donna Lee are provided for C instruments.

Reeves offers a brief discussion regarding Parker’s use of harmonic substitution, altered chord, and melody development in Now’s the Time, dated 30 July 1953. It is noted that Reeves cites the recording date as 4 August, 1953, which is disputed by the current research of Phil Schaap. Transcriptions are provided for C instruments in both treble-clef and bass-clef , E-flat instruments, and B-flat instruments.

Reeves briefly discusses Parker’s harmonic substitutions, altered chords, and chromaticism in Shaw’s ‘Nuff, dated 11 May 1945. Parker’s ability to vary the placement of accent is also noted. It is noted that Reeves questionably cites the recording date as 1947. Transcriptions are provided for C instruments in both treble-clef and bass-clef, E-flat instruments, and B-flat instruments.

Kernfeld offers a discussion of the formulaic improvisation, presenting brief analytical presentations as to the techniques employed by Charlie Parker, Coleman Hawkins, Albert Ayler, and other jazz players. Parker’s Ko Ko, take 2, master take, dated 26 November 1945, is discussed by using the catalogue of formulas compiled by Thomas Owens. Transcription is provided for C instruments.

Patrick presents a summary of Parker’s compositional and improvisational treatments, discussing Parker’s use of existing chord frames as the foundation of harmonic syntax for new compositions, examining melodic ornamentation and improvisation techniques by providing a comparative study between the original theme and Parker’s treatment on Out of Nowhere, dated 18 December 1948, and Groovin’ High, dated 28 February 1945, respectively, presenting Parker’s motivic development and formulaic improvisation techniques by analysing the fragments of Parker’s improvisations on Klact-oveereds-tene, take A, master take, and take B, both dated 4 November 1947. Parker’s use of quotations is also addressed. Transcriptions are provided for C instruments.

The animating purpose of Barrett's dissertation is to study the improvisational style of clarinetist Buddy DeFranco, who has been greatly influenced by Parker. An analytical discussion of DeFranco and Parker's treatments of melodic contours and harmonic progressions is presented, including the discussion of the use of melodic figures, the motif manipulation technique, and the melodic interspersion technique, which constitutes as a valid comparative study of Parker's musical influence upon his contemporary, who adopted a primary instrument other than the saxophone. The harmonic chord sequence of Parker's Confirmation is addressed. Music excerpts of Parker's improvisations are taken from Jamey Aebersold and Ken Slone’s Charlie Parker Omnibook,which limits the scope of the study. A transcription of an interview with Buddy DeFranco, dated December 1993, is also provided, containing information regarding DeFranco's recollections that include Parker's remarks as to DeFranco's incorporation of diminished scales in the improvisation.

Schenkerian analysis is applied to examine five improvisations played by Chet Baker, Paul Desmond, Stan Getz, Dizzy Gillespie, and Charlie Parker on the chord changes of All the Things You Are. Topics of discussion include compound melody, implied notes, diminutions, and melodic coordinates in constructing jazz improvisations. Analysis of the 2nd chorus of Parker’s solo and supporting bass line, dated 15 May 1953, is accompanied with foreground and background analytical graphics. Transcriptions are provided for C instruments.

Engelhardt’s dissertation, one of the most comprehensive studies of Parker’s life and music during his formative period, offers discussions of the Kansas City music and cultural environment, biographical information and musical background of Parker, and analytical analyses of Parker’s use of melodic figures in improvisations recorded during 1940-42. The influences of Lester Young, Buster Smith, Roy Eldridge, Coleman Hawkins, Efferge Ware, Carrie Powell, and Tommy Douglas upon Parker are also addressed. Transcriptions of Parker’s sixteen improvisations are provided, including I Found A New Baby, Body And Soul, Moten Swing, Coquette, Oh, Lady Be Good, and Honeysuckle Rose, all dated 30 November 1940, Swingmatism and Hootie Blues, both dated 30 April 1941, Lonely Boy Blues, The Jumpin’ Blues, and Sepian Bounce, all dated 2 July 1942, fragment of I Got Rhythm, dated early August 1940, St. Louis Mood, I’m Forever Blowing Bubbles, Hootie Blues, and Swingmatism, all dated 13 February 1942. Eighty-seven melodic figures from studio recordings and fourty-two melodic figures from live recordings are presented for easy access. Transcriptions of interviews with Myra Brown, Eddie Baker, Jeremiah Cameron, and Arthur Saunders are also included. Transcriptions of Parker’s improvisations are provided for both C instruments and E-flat instruments.

Glaser's thesis, developed upon music perceptual studies, uses Now's the Time, dated 30 July 1953, Mohawk, take 6, master take, dated 6 June 1950, and Kim, take 4, master take, dated January 1953, as analytical subjects to discuss the ratios of Parker's swing eighth-note at three different tempi. The empirical examination shows that Parker utilizes different swing eighth-note ratios in different tempi: Now's the Time (M.M.= 132), ratio = 1.29:1, Mohawk (M.M.= 168), ratio = 0.78:1, and Kim (M.M.= 320), ratio = 1.02:1. The result differs from the jazz notation which often identifies the swing eighth-note ratio as 2:1 or 3:1.

Jacobson offers discussions comparing the musical decoration devices in the improvisations of Charlie Parker and Julian Adderley with the embellishments found in the Methodical Sonatas of Georg Philpp Telemann, including the appoggiatura, metric displacement, leaping figures, the units of stepwise motion, and the compound embellishing procedures. Parker’s Ornithology, Si Si, Kim, and Yardbird Suite are studied in detail with reduction analyses. Jacobson offers further discussions of the pedagogical applications based upon the results of the analyses. Biographical data of three artists are also provided. Musical excerpts of Parker’s improvisations are taken from Jamey Aebersold and Ken Slone’s Charlie Parker Omnibook. Transcriptions of Parker’s improvisations are provided for E-flat instruments.

Luckey’s dissertation mainly concentrates upon the analyses of the stylistic traits of tenor saxophonist Lester Young’s improvisations. In chapter seven, Luckey expands the presentation to address Young’s influence upon his contemporaries, including Charlie Parker. Parker’s improvisational devices that are influenced by Young demonstrated in Scrapple From The Apple, take C, master take, dated 4 November 1947, are briefly discussed. Transcriptions of Parker’s Scrapple From The Apple, Anthropology, Dewey Square, and Donna Lee, taken from Jamey Aebersold and Ken Slone’s Charlie Parker Omnibook, E-flat instrument edition, are also included.

Mitchell's work offers in-depth discussions of the similarities between Bebop and the music of Chopin as to the use of appoggiaturas, neighboring tones, converging figures, and passing tones. Charlie Parker, Dizzy Gillespie, and Clifford Brown's improvisations are selected as the representatives of Bebop to be compared with Chopin's music to reveal the mutual improvisational embellishment techniques, including delayed passing motion, consecutive embellishing tones, converging figures, and changing tone figures. Biographical data for Parker, Gillespie, Brown, and Chopin are also included. Parker's transcribed musical excerpts are taken from Thomas Owens's dissertation "Charlie Parker: Techniques of Improvisations." Transcriptions are provided for C instruments.

Owens’s dissertation is one of the most significant analytical works of Parker’s music and provides a well-researched foundation for the assumption of Parker’s formulaic approach in his improvisations. The dissertation consists of two volumes. The first volume offers discussion of Parker’s stylistic traits and analyses of Parker’s improvisations categorized in different keys. In addition to the detailed discussion of Parker’s use of motives, Owens also compares Parker’s treatments of improvisation in the same harmonic syntax of blues and rhythm changes, listing Parker’s preferred motives. Appendix I contains a list of a published transcriptions. Appendix II is a ninety-seven page annotated discography, that lists Parker’s recording session chronologically. Owens’s discography is comprehensive, listing personnel and information regarding performances. However, due to its publishing year, it does not cover recently discovered recorded material of Parker. The second volume contains a list of motives, approximate 190 categorized transcriptions, and Roman numeral analyses of chord progressions of Parker’s repertory. The accompaniment parts are also transcribed in some transcriptions.

Thom's dissertation in the field of computer science provides a discussion of the computer program BoB, Band-OUT-of-a-Box, that is designed to enable the live interaction between an improvisor and a computer. Two versions of Parker's Mohawk, take 3, and take 6, master take, both dated 6 June 1950, and jazz violinist Stephane Grappelli's improvisations are chosen as the valid models to train the software. The computer-generated improvisations, based upon Parker's model, are presented and reveal the possibility of computerization of Parker's music.

Woideck’s thesis, consisting of two parts, is one of most comprehensive studies of Parker’s life and music during his formative period. Part one contains biographical data while part two provides analytical discussions of Parker’s improvisations, including annotated transcriptions of performances in Honey & Body, dated 1940 approximately, Oh, Lady Be Good and Honeysuckle Rose, both dated 2 December 1940, Hootie Blues and Swingmatism, both dated 30 April 1941, The Jumpin’ Blues and Sepian Stomp, both dated 2 July 1942, Cherokee, dated 1942 approximately, Sweet Georgia Brown, dated 15 February 1943, and other short fragmentary transcriptions. Woideck’s analyses are detailed in documenting Parker’s musical development during his apprenticeship, examining Parker’s melodic lines and quotations that are acquired from prominent musicians during that period, such as Coleman Hawkins, Roy Eldridge, and Lester Young. Transcriptions are provided for C instruments.

Originally presented at the eighth annual convention of the National Association of Jazz Educators in St. Louis, Missouri, Bash's paper offers a discussion of the process of improvisation and the solution to the productive and reproductive questions in improvised music by examining Parker's ten versions of Cherokee covering Parker's musical career from 1942 to 1954. In presenting the argument of Parker's improvisational formulae, Bash selects eight motives to demonstrate Parker's treatment of motives followed by the discussion of its educational value in the field of jazz improvisation.

Engelhardt compares the stylistic traits between John Jackson, the lead alto saxophonist in Jay McShann’s orchestra, and Parker in his apprenticeship with McShann. Parker’s improvisations in Lonely Boy Blues, dated 2 July 1942, and The Jumpin’ Blues, dated 2 July 1942, are used to conduct a comparative study with Jackson’s improvisations to demonstrate Parker’s musical influence upon his peer. Engelhardt also states that the first chorus of the improvisation, which has been wrongfully attributed to Parker, was performed by Jackson, and Parker performed only the second chorus. Transcriptions are provided for C instruments.

Engelhardt discusses guitarist Efferge Ware’s influence upon Parker during his apprenticeship. Engelhardt proposes that Ware, a well known musical mentor to young jazz musicians in Kansas City, is responsible for Parker’s development of the “side slipping” technique. Based upon Engelhardt’s expanded definitions of “side slipping” five recorded examples from Parker’s improvisations in his apprenticeship are selected for analysis. The number of recorded solo by Ware is limited. With only eight measures of solo material of Ware in Rockin’ with the Rockets, dated 11 January 1940, the reliability of Engelhardt’s research is questionable. Transcriptions of Parker’s improvisations are provided, including Honeysuckle Rose, dated 20 November 1940, I’m Forever Blowing Bubbles and St. Louis Mood, both dated 13 November 1942. Transcriptions are provided for C instruments.

Haywood's article offers a discussion of the melodic balance by analyzing improvisations in Parker's Bongo Bop, take A, master take, dated 28 October 1947, and Coltrane's Alabama, recorded in 1963. The choral melody from "Zion hört die Wächter singen" in Bach's Cantata No. 140, Wachet auf is also analyzed to demonstrate melodic balance. The Tonal Gravity Chart by George Russell is also presented to provide a valid reference for analyzing Coltrane's improvisation. The transcription of Parker's Bongo Bop is provided for C instruments.

Jones-Quartey offers a descriptive analysis of the form and form template, as well as layer analysis in Charlie Parker's Parker's Mood, take 5, master take, dated 18 September 1948. The investigations deal with Parker's improvisational approach in performing the piece, the comparative study as to the differences of the treatment between each chorus, and the association between the background structure and the foreground musical surface in layer analysis. The transcription and the graphic analysis are provided for C instruments.

Koch offers discussions of the implication of the blues scale and the functionality of the "blue" notes in the harmonization of the blues form which also reveal the common substitutions of the blues form. The discussion is then expanded to deal with Parker's concept of transferring the opening harmonic syntax of I Got Rhythm and Confirmation to replace the first four bars of the blues harmony by using Parker's Barbados and Laird Baird as the examples, respectively. Koch also suggests the interchangeability of the harmonic contours in the blues form, providing some other possible substitutions. Minor blues and mutant blues forms are also discussed.

In formulating an analytical outline for Parker’s improvisational and compositional preference, Koch is primarily concerned with three attributes: melodic contours, harmonic devices, and rhythm. A summary is offered by first discussing the significant role of the flat sixth of the scale. The use of major scales, treatment of the tonic chord, the dominant chord, ii-V-I chord progression, the secondary dominant, the bVI7 chord, the bVII7 chord, minor chords as the tonic, I-I7-IV-iv chord progression, substitution, superimposition, and other devices are also addressed. Koch's survey has successfully avoided over-generalization with the illustration of short but essential transcribed musical excerpts in concert key to demonstrate the outlined treatments.

In expanding the discussion of Parker’s improvisational and compositional preference presented in the previous issue of Journal of Jazz Studies, Koch offers analytical outlines of Parker’s improvisational treatments of the blues form. Koch divides Parker’s treatments in the blues form into four sections: the opening section, which occupies from bar one to bar four, the IV chord section, which occupies from bar five to bar six, tonic return which occupies from bar seven to bar eight, and the cadence section, which occupies from bar nine to bar twelve. The discussion regarding Parker’s opening chord sequence utilized in Laird Baird and Blues for Alice, which is identical to the opening chord structure of Confirmation, is provided. After a brief discussion of Parker’s treatment of motivic development, Koch presents a complete analysis and transcription in concert key of Parker’s Embraceable You, take 1, dated 28 October 1948. An errata from part one is also presented at the end of the article.

Larson presents discussions of the connection between compositions and their theoretical explanations, emphasizing musical forces and melodic expectations. Works by jazz theorists Richmond Browne, Henry Martin, George Russell, Steven Strunk, Keith Waters, and other theorists are reviewed. A summary of the theory to catalog the musical forces into three metaphors, gravity, magnetism, and inertia, is given, and the explanation on the correspondences between "alphabets," the musical elements, "operations," the executions of the musical elements, and Chord-Scale theory is provided with the example taken from Oh, Lady be Good! played by Parker in 1946 with the further presentation upon "reference alphabet" and "goal alphabet." Larson then concentrates upon the discussions of "step collections," "nonadjacent half-step hypotheses," "semitone constraint," "retrospection of anticipation," and "hidden repetition." Two compositions, including Toshiko Akiyoshi's I Ain't Gonna Ask No More and Parker's Confirmation, are analyzed in detail.

Larson offers discussions of Parker's organizations of musical languages in improvisations, analyzing Parker's Lady Be Good, dated 28 January 1946, by using descriptive analysis and Schenkerian graphic analysis. A transcription of Parker's improvisation and bass line are provided for C instruments.

McLaughlin studies the improvisations of Louis Armstrong, Count Basie, Parker, Thelonious Monk, and Miles Davis. McLaughlin’s study emphasizes the rhythmic aspects to offer recorded evidence to support his hypothesis that the meter is used as a framework and imparts no accent to the melodic lines in jazz improvisations. The association between African music and jazz improvisations by Afro-American musicians is investigated. Parker’s rhythmical employment and the technique of cross-rhythm is studied, using his improvisations of Tiny’s Tempo, take 3, dated 15 September 1944, Thrivin’ on a Riff, take 3, dated 26 November 1945, and Ko Ko, take 2, dated 26 November 1945, as subjects of the study. Similar aspects are also studied in Parker’s compositions, including Billie’s Bounce and Au Privave.

The author analyzes Parker’s contrapuntal melodies in Ah-Leu-Cha and suggests the term modal consonances to be applied to the perfect fourth and major second and its inversion based upon their independent function. Traditional species counterpoint is expanded to be used in the analysis of 20th century music, providing a different approach in analyzing Parker’s contrapuntal works.

Murphy analyzes Parker’s Buzzy and Joe Henderson’s performances that utilize the quotation and the motivic transformation of the melody of Buzzy in Bird Like and If. Even though the goal of this paper is to demonstrate the connection between performance and other cultural aspects in a holistic manner, it serves as a good sample in understanding Parker’s musical influence.

Owens’ work is a pioneering research of computer-aided analysis in jazz study. Data provided by Melograph Model C is applied to assist the performance analysis of Parker’s Mood, take 2, dated 18 September 1948. A transcription of Parker’s solo is provided for C instruments.

Portions from the author’s Bebop: The Music and the Players are used to present this summary of Parker’s musical influence upon jazz players. A theoretical approach is based upon the author’s admirable dissertation Charlie Parker: Techniques of Improvisation, analyzing Parker’s solos on Kim, take 2, 1st chorus, dated end of December 1952, and Scrapple from the Apple, 12th chorus, dated 12 April 1951, with an emphasis upon Parker’s formulaic figures. A transcriptions are provided for C instruments.

Potter offers discussions regarding the functionality of bVII7 chord in jazz, using Bebop compositions as examples, including Parker's Bongo Bop, Dexterity, An Oscar for Treadwell, Yardbird Suite, and Dewey Square. Discussions include the analytical treatments of the bVII7 chord's two main functionalities, as the dominant chord or as the subdominant chord, with reviews of David Baker's "non-contextual substitution" and Erno Lendvai's "principal of axis substitution." Bebop compositions are classified into three groups based upon the function of bVII7: bVII7 as a secondary dominant, bVII7 as a passing chord, and bVII7 function between subdominant and tonic which is the most common usage in jazz. Potter, proposing the theory of bVII7 as a subdominant-dominant hybrid in general, also addresses the possible substitutions of bVII7.

Parker’s approach to the blues and its influence upon Ornette Coleman are briefly addressed. A short discussion regarding harmonic structure between Parker’s Blues for Alice and traditional 12-bar blues form is also presented.

Pressing's paper offers discussions regarding the application of the set theory of pitch classes in jazz. The analytical presentation of Parker's Cool Blues in five parts that is arranged and performed by Supersax provides interesting perspectives of the analytical issues and Parker's influence.

Reeves offers a short discussion regarding the development of the musical vocabulary in jazz improvisations. The linear examination of the improvisational styles of Louis Armstrong, Lester Young, Charlie Parker, and Miles Davis is based upon transcribed solos. Parker’s improvisation on Shaw ‘Nuff, dated 11 May 1945, is briefly analyzed. It is noted that the information presented in this paper is extracted from Reeve’s 1989 publication Creative Jazz Improvisation. A transcriptions are provided for C instruments.

Parker’s Klact-oveededs-tene, take A, dated 4 May 1947, is studied to demonstrate the polyharmonic effect between Parker’s solo and rhythm session’s supporting harmony, polymetric structure created by Parker’s accentual patterns, Parker’s recurring motivic technique, and motive development technique by utilizing notes and rests. A transcription is provided for C instruments.

Strunk offers discussions of the characteristics and motivic organizations of Bebop melodic lines, including topics such as tension, chordal extensions and its associated substitutions, tensions in chord voicing, chord voicing built upon the interval of the third, chord voicing built upon the interval of the fourth, register shifting of the voicing, and polychordal voicing. The discussions concerning the melodic organization in Bebop are also presented, including topics such as arpeggiations of chord voicing, the resolution of tension, detailed layers study of Donna Lee, and motivic organization in Bebop compositions. Compositions that occupy important places in Parker's repertory, including Donna Lee, A Night in Tunisia, Groovin' High, and other compositions are used as examples.

Four of Parker’s blues compositions, Air Conditioning, Cheryl, Now’s the Time, and Visa are briefly addressed with the transcriptions for C instruments. Six short musical examples that are transcribed from An Oscar for Treadwell are notated together to demonstrate Parker’s phrasing ability.

Webb offers a brief summary of Parker’s stylistic traits, associating Parker’s technique of anticipation and delayed resolution with Lester Young.

Wildman provides discussions of the stylistic transformation from popular songs of 1920 to Bebop compositions by examining Whispering and its Bebop adaptation Groovin' High, which has occupied an important place in Parker's repertory. Wildman first discusses the melodic structure of both compositions separately and then analyzes the melody, rhythm, accent, and harmony comparatively. A selected discography is included.

Williams discusses the historical and theoretical aspects of the practice of "melodic contrafact" in jazz by using the Meyer-Narmour method to classify archetypal schemata of approximately 200 Bebop compositions, including Parker's originals. Compositions are classified into four categories: Ascending Gap-Fill Patterns, such as Moose the Mooche; descending Gap-Fill Patterns, such as Yardbird Suite, Buzzy, and Quasimodo; linear Patterns, such as Blues for Alice; and Complementary Patterns.

Winkler offers discussions of the common circle-of-fifths harmony syntax found in jazz and popular music, establishing his arguments based upon the considerations that the harmony is adopted as the result of contrapuntal voice-leading suggested by Schenker and the harmonic syntax is the contrapuntal elaboration of a background structural progression. The author uses the "barbershop harmony" suggested by Winthrop Sargeant to introduce the theory of the single paradigm consisting of circle-of-fifths harmonic syntax and its substitutions, which can be utilized in larger musical units by using repetition, prolongation, and elaboration techniques, such as Parker's Blues for Alice, and adopting it as a modulator to distant keys. The transcribed improvisations by Lester Young in Shoeshine Boy and by Parker in All the Things You Are, dated 15 May 1953, are analyzed in detail, the latter is treated with Schenkerian graphic analysis and species counterpoint analysis. The decline of circle-of-fifths and the rise of I-bVII- IV- I are addressed. The transcriptions are provided for C instruments.

Woideck reports Parker’s learning activities during his apprenticeship. Parker’s technique of quotation during his apprenticeship is discussed. Woideck reports a fragment of Parker’s improvisation on Body and Soul, dated 1940 approximately, which contains quotation from Coleman Hawkins’s improvisation of the same composition recorded one year earlier as the recorded evidence of Parker’s musical learning activity.

The author presents transcriptions of Charlie Parker’s Relaxin' at Camarillo, take C, master take, dated 26 February 1947, and Groovin' High, dated 28 February 1945, along with other transcriptions of improvisations by Lester Young, Benny Goodman, Johnny Hodges, and Benny Carter. It is noted that Relaxin' at Camarillo was taken from a 1950 Down Beat article by Russo, B, and L. Lifton "Jazz off the Record: Charlie Parker's Solo on Relaxin' at Camarillo." The transcriptions are provided for C instruments.

Parker’s solo on Now’s the Time, dated 30 July 1953, is briefly analyzed. A transcription is provided for E-flat instruments with chord symbols for C instruments.

The transcription of Jackie McLean’s solo on Dig, recorded in 1950, is presented with brief theoretical annotation. According to McLean, this particular performance was an attempt to duplicate Parker’s improvisation style, constituting of a significant source in studying Parker’s musical influence.

Crisler provides a solo banjo arrangement of Parker's Scrapple from the Apple in TAB notation, offering performance suggestions for bluegrass banjoists who are interested in the Bebop genre.

Fowler used Parker’s Ornithology as an example to demonstrate the technique of motivic development.

Parker’s ability to develop complex improvisation from basic motives is addressed with supplementation of transcribed solo excerpts. Excerpts of Groovin’ High and Chasin’ the Bird are listed in parallel to provide critical comparison. Transcriptions include Parker’s solo on The Jumpin’ Blues, dated 2 July 1942; Just Friends, dated 30 November 1949; Klact-oveededs-tene take B, dated 4 November 1947; Thrivin’ from a Riff, take 3, dated 26 November 1945; Groovin’ High, solo break and first 9 bars, dated 28 February 1945 as 1st version indicated in the article; Groovin’ High, 2 bars solo break followed by first 9 bars of 2nd chorus, dated 11 December 1948, as the 2nd version indicated in the article; Groovin’ High, solo break and first 9 bars, dated 29 September 1947, as 3rd version indicated in the article; the improvised bridge on the melody of Chasin’ the Bird, take 1 (as 1st notated excerpt), take 3 (as 2nd notated excerpt), and take 4 (as 3rd notated excerpt), dated 8 May 1947. Transcriptions are provided for C instruments.

Concise analysis, based upon jazz harmony, of Parker’s solo on Shaw ‘Nuff, dated 11 May 1945, is presented in the transcription directly, instead of annotating in a separate paragraph. A transcription is provided for C instruments.

Various sets of piano voicing on Parker’s Confirmation by using common tone harmonization is presented by Hersch.

The author uses Parker’s Confirmation as an example to provide brief hints, including the use of hand groups and the accented notes doubling technique, for pianists who wish to start exploring the Bebop genre.

The transcription of Parker’s Parker’s Mood, take 5, dated 18 September 1948, is presented with a brief analysis. A transcription is provided for C instruments.

Pemberton's small ensemble arrangement of Parker's Ornithology for jazz quartet of guitar, piano, bass, and drum.

The authors provide an annotated transcription of Parker’s improvisation on Relaxin' at Camarillo, take C, master take, dated 26 February 1947, pointing out Parker’s innovative treatment of the placement of phrases. A transcription is provided for E-flat instruments.

Transcription of Parker’s solo on Parker’s Mood, take 5, dated 18 September 1948, is presented for C instruments.

The presentation is an excerpt of Smith’s piano arrangement based upon Parker’s Dewey Square, take C, dated 28 October 1947. An arrangement is provided for C instruments.

Parker’s solo on Embraceable You, take A, dated 28 October 1947, is briefly analyzed. A transcription is provided for C instruments.

Zumbrunn offers summarized discussions of Parker's approaches to the circle of fifths, substitutions, melodic phrasing and figures, rhythm, and tempo in the blues form. A brief discography is also included.