| Summary: | This paper examines the musical and technical demands of adapting the bebop melodic language of saxophonist Charlie Parker to the cello. String players have tended to avoid this musical language due to its non-idiomatic nature. A staple of jazz performers' repertory however, bebop tunes remain standard works of study for any student of jazz improvisation. This paper examines the challenges for the cellist's left hand in playing Parker's melodies and improvisations. It also suggests possible bowing solutions that allow the player to emulate his articulation. Further, it examines issues of musical timing and various learning techniques for the application of this style. I approached this material using the process of transcription to internalize aspects of the musical style. The appendix includes my transcriptions of six of Parker's recorded solos edited for the cello in low register, high register, and scordatura editions. The recordings examined in this paper are "Dexterity," "Scrapple from the Apple," "Parker's Mood," "Embraceable You," "Dewey Square," and "My Little Suede Shoes."
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