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THE GREAT JAZZ PIANIST FATS WALLER WROTE A TUNE ENTITLED HONEYSUCKLE ROSE (1929). THE
TUNE IS A 32-BAR SONG FORM (AABA), IN WHICH THE FIRST FOUR BARS OF EACH "A" SECTION IS V7 (OR
II-V7 IN EACH BAR). B-FLAT 7 FOR FOUR BARS OR F MINOR 7 TO B FLAT 7 EACH BAR FOR FOUR BARS IN
b7 b7 b7 b7
THE KEY OF E-FLAT MAJOR. THE MELODY OF HONEYSUCKLE ROSE BARS 1-4, 9-12, 25-28 IS:
b b c b b b
&
ONE OF THE INGENIOUS ASPECTS OF WALLER'S MELODY, IS THAT IT EXPLOITS ALL OF THE UPPER
EXTENSIONS OF THE DOMINANT 7TH CHORD (V7) 7 - 9 (2) - 11 (4) - 13 (6)
B
b7
b b b
&
5
1 7 2 4 6
**IS THE SAME AS
B
b7
b b
& b
6
1 7 9 11 13
YOU SHOULD BEGIN TO THINK OF THE HARMONY IN A VERTICAL WAY. SEEING THE DOMINANT 7TH CHORD
EXTENSIONS OF B-FLAT 7 AS A FLAT (7) - C (2) - E FLAT (4) - G (6) AS THE UPPER EXTENSIONS OF B-FLAT 7
WHICH ARE THE SAME NOTES B-FLAT 7 = A FLAT (7) - C (9) - E FLAT (11) - G (13)
THE HONEYSUCKLE ROSE THEME IS ALSO RELATED TO THE CHORD BUILDING CONCEPT, THAT ANY TIME
YOU REACH DOMINANT 7TH ON A V7 CHORD, YOU MAY ASCEND A MAJOR 7TH CHORD BASED OFF OF THAT NOTE.
B-FLAT 7 = A FLAT (7) - C (9) - E FLAT (11) - G (13) WHICH OUTLINES ALL OF THE UPPER EXTENSIONS 7 - 9 - 11 - 13
danmillerjazz.com
HS ROSE
2
B
b7
b b
& n b
n b
b
7
B 7 7 9 11 13
b
& b n b n b
10
7 9 11 13
CHARLIE PARKER REALIZED THAT BY USING THE HONEYSUCKLE ROSE THEME AS PART OF HIS MELODIC
LANGUAGE, HE WAS ABLE TO PLAY MELODIES UTILIZING THE UPPER EXTENSIONS. THIS, IN CONJUNCTION
WITH HIS GROUND BREAKING USE OF HALF STEPS, CHROMATICISM AND REVOLUTIONARY RHYTHMIC
APPROACH, CREATED THE SOUND OF MODERN, PROGRESSIVE MUSIC.
BIRD WOULD OFTEN USE THE THEME IN IT'S ORIGINAL FORM. HE WOULD ALSO USE OCTAVE DISPLACEMENT
AND ASCEND THE CHORD FROM THE 7TH.
B
b7 B
b7
b
&b b
& b
13
BIRD WOULD ADD THE DOMINANT 7TH BEBOP SCALE PASSING TONE BETWEEN THE TONIC AND THE FLAT 7TH
b7 b7
AND PLAY ACROSS THE BAR LINE WHILE PLACING THE DOMINANT 7TH ON A STRONG BEAT, EITHER 1 OR 3
B B
b
&b n b
& n b
15
b7 b7
HE ALSO LIKED TO APPROACH THE FLAT 7TH FROM THE 6TH PLAYING TONIC - 6TH TO THE FLAT 7TH
B B
b
&b n b & n b
19
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HS ROSE
3
BIRD ALSO LIKED TO APPROACH THE FLAT 7TH DIRECTLY FROM THE 6TH ON THE UPBEAT ALA BIRD'S TUNE
b7 b7
MARMADUKE, BASED ON THE CHORD PROGRESSION TO HONEYSUCKLE ROSE
B B
b n j j
&b b
& n b
23
G min7 C 7 F min7 B
b7 F min7 B
b7 F min7 B
b7 F min7 B
b7 E
b 7
b j j j
& b b . b . b
27
n.
CHARLIE PARKER AND THE HONEYSUCKLE ROSE THEME
B
b7
b
& b b
33
b b b
&
34
b
& b b
35
b b b
&
36
b
& b n b
37
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HS ROSE
4
B
b7
b
& b n b
39
b
& b n b
41
b
& b n b
43
b b n b
&
45
b b n b
&
48
b
& b n b #
51
b
& b n b #
54
b
& b n b n #
57
n n b
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b
B 7
HS ROSE
b n #
& b n b n n b
60
b
& b n b
n #
63
b n #
& b n b
65
b b n b j
& n # n #
67
b n # n #
& b n b J
70
b
& b n b
n # # n
73
b n # # n
& b n b
75
b
& b n b n # # n n #
77
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b
HS ROSE
6
B 7
b n # # n n #
& b n b
80
b
& b n b
n n n
83
b n n
& b n b n
85
b b n b j
& n n n #
87
b n n n #
& b n b n J
90
b
& b n b
n n n # n
93
b n n # n
& b n b n
95
b
& b n b n n # n n #
97
n
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b
HS ROSE
B 7
b n n # n n #
& b n b n
100
b
& b n b
3
103
n
b
& b n b n
105 3
b b n b
&
n
3
107
b
& b n b n
110 3
b
& b n b
3
n n #
113
b b n n #
& n b
116 3
b
&b n b
n
119
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b
HS ROSE
8
B 7
b n
& b n b
121
b
& b n b
# n n
3
123
b # n n
& b n b
125 3
b b n b
&
127
b
& b n b
130
b
& b n b
133
b b
& n b
136
b
& b n b # #
139
n b
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b
HS ROSE
B 7
b # #
& b n b n b
142
FATS NAVARRO
b
& b n b n # # n n b
145 b
FATS NAVARRO
b
& b n b b # n n b
3
n # b
148
FATS NAVARRO
b b n b
& #
151
BIRD
b
& b n b n #
154
BIRD
b
& b n b n
157
n
BIRD
b
& b n b # n
160
BIRD
b b
& b n b
3
163
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b
HS ROSE
10
B 7 BIRD
b
b n b b
3
&
166
BIRD
b
& b n b
b
169
BIRD
b
& b n b
171
n
BIRD
b b n b
& #
3
n
173
BIRD
b
& b n b
176
BIRD
b
& b n b n
178
BIRD
b
& b n b n #
180
n b
BIRD
b
& b n b
#
183
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b
HS ROSE
B 7 BIRD
b b
& n b n
186
n
b
BIRD
& b n b # n
189
BOOKER LITTLE
b
& b n b n # n b
192
DIZZY
b b n b
& n # n b
195
DIZZY
b
& b n b b n # n n
198
KENNY DORHAM
b
& b n b n # n
201
KENNY DORHAM
b b n #
& n b # n
204
BIRD
b
& b n b
3
207
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