Parker's Mood de Charlie Parker: Aspectos históricos y técnicos del tema adaptados al lenguaje guitarrístico.

Abstract

Charles Christopher Parker, Jr. (Kansas City, August 29, 1920 - New York, March 12, 1955), known as Charlie Parker, is listed as one of the greatest composers and performers of jazz music, thanks to his virtuosity, language and compositions for saxophone, in classical and band format that have positioned him as one of the best in this genre. It is important to point out that the theme Parker's Mood was recorded in New York by the saxophonist on September 18, 1948 with his group Charlie Parker All Stars, formed on this occasion by his colleagues John Lewis, on piano, Curley Russell, on double bass and Max Roach, on drums. The objective of this work is to make an approach to the technical and interpretive management of the guitar in Parker's Mood, which is entrusted to performers of a slightly more advanced level, since the virtuosity of the theme, as in the written solo, requires a high-level execution language and technique. His guitar performance handles different techniques such as the ascending legato or "Hammer on", the descending legato or "Pull of", "Slides", among others, which must be fast and precise since he tries to imitate his original sound (the saxophone). Likewise, the work focuses on giving a historical context about the work, the influences of the saxophonist, Charlie Paker, following the important parameters of what was happening at that time with respect to music; likewise, the research adopts a qualitative approach, in order to understand meanings, qualities of experience, worlds of subjective and intersubjective meaning (López Cano, San Cristóbal, 2014, p. 84), with a descriptive scope, documentary research is carried out and reconstruction of the composer's life story in order to determine his journey, dates, contexts, language, and followed by studio recordings. At the same time, the interpretation of the theme is presented as "novel" - with few contributions in the Jazz context of studies that address the work performed on another instrument, as in this case the guitar, so this work is also an investigation of exploratory type (Borsotti, 2007). Finally, starting from a study schedule for approaching the work, developed step by step, following a guideline regarding the difficulty of each technical point to be treated, the proposed objectives are achieved. The results highlight how the techniques studied generate a language more in line with jazz, achieving a sound closer to the saxophone and leading the performer to handle different technical and structural aspects.