Piano Sheets > Charlie Parker Sheet Music > Scrapple From The Apple (ver. 2) Piano Sheet

Scrapple From The Apple (ver. 2) by Charlie Parker - Piano Sheets and Free Sheet Music

  
About the Song
   Other avaliable versions of this music sheet: Version 1  Version 2  
"Scrapple from the Apple" is a bebop composition by Charlie Parker, commonly regonized today as a jazz standard, written in F major. The song borrows its chord progression from "Honeysuckle Rose", a common practice for Parker, as he based many of his successful tunes over already well-known chord changes. Charles Parker, Jr. (August 29, 1920 – March 12, 1955) was an American jazz saxophonist and composer. Parker is widely considered one of the most influential of jazz musicians, along with Louis Armstrong and Duke Ellington. Parker acquired the nickname "Yardbird" early in his career,[2] and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite" and "Ornithology." Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuosic.    Download this sheet!
About the Artist
Charles Parker, Jr. (August 29, 1920 – March 12, 1955) was an American jazz saxophonist and composer. Parker is widely considered one of the most influential of jazz musicians, along with Louis Armstrong and Duke Ellington. Parker acquired the nickname "Yardbird" early in his career,[2] and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite" and "Ornithology." Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and improvisation based on harmonic structure. Parker's innovative approaches to melody, rhythm, and harmony exercised enormous influence on his contemporaries. Several of Parker's songs have become standards, including "Billie's Bounce", "Anthropology", "Ornithology", and "Confirmation". He introduced revolutionary harmonic ideas including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on.
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