B, TRUMPET AND CLARINET

INTRODUCTION

ThÈ book is $Titten for a wide variety of musicians, Êom aspiring to the more experienced players who would like to get another perspec-t-t-e_on melody, swing, concePt, improvising, sight-reading, and general musicianship. To bà accessible to the young".-p1"y"., there is par-----ular care given to range, r\thmic ligures, and overall playability Át the same time, I attempt to maintain a'high'ÍevËl of musicality and'':t-'k at improYisation and composition from a concise, simple, and lyrical viewpoint, which t hope will appeal to the professionai andr.-re accomplished musiciaru as well. My irspiration for wdting this book ca*" f.om my ron, p;ul, who;i the time was ten years oldr:d playing the clarinet. He needed to play sorne music that was iun, inspirational, and steáped in the jazz and blues tradition. Ás I wrote:--e etudes, Paul would play them. Ás a result, his sight-reading and sense of time and phrasing grelri by great leaps and bounds. Many--urks. Paul!

--- essence. I have written this book as a reduction or honing of ideas I rypically play when I solo. The format is similar to my two other-''- erude books published by Warner Bros. Publications, 14 lazz ë Funh Etuàes and. i4 Blues & Funh Etudes, in which you leam eacht--.rde slowly and then, when ready play the etude along with the CD accompaniment. The focus is on melodic groove playing, whichÈ''-als vith the lyrical side of the music: not a lot of hard stuff but rather an example of rnelodies thar draw on the iaiz and Èlues áditil t lon,

ang like crazy, and ger right ro the heart of the matrer.

E L2m:d. how t| PlaY iazz and blues through leaming by memory the solos ofjazz legends Lester Young, Charlie parker, John Coltrane.t:rf,r\' stitt, and others. This was the musical vocabulary I needed to get started. It wasnt until I started touring with bands in the early

I- -\ that l began to read books wiÈ a passion (all of that down time on tour buses). After a while, my vocabuliry and ability to express

It--es tÀrough spoken word dramatically improved. In a similar way, my musical vocabulary and playing improved through listening tor: :r of music and trying to emulate the musical ideas I'd hear my heroes play This transcripÍve .on.ept s"t in an .tude format will aiow

;!(o to learn the written notes easily through repeated playing, and you will be amazed hàw httle snippets of these melodies will work

fcu rzy into your improvising. In the art of jazz improvisation, you can say a lot with a few words. I realize that this is not the mosr

|FularaPProach in this age of mass volurne and instant gratiÍication. But even the most abstract and cutting-edge players have firm Íoots

F -:,*jT.:t*n8, and simplicity of ideas. Ly-rical jazz players who have had a strong influence in the deielofmení of my own person-

F 5Ít1e ot Pla).rng are Miles Davis, Stan Getz, Lee Konitz, Paul Desmond, Hank Mobley, and B.B. King, among many others.

II

I 6't@II My thanks to the great musicians on rhe CD:John Riley drums;Phil Markowitz. piano: aÍdI Deanjohnson. bass, and to engineerjim Clouse at Park west Studios in Brookiyn. NyI Thanks also to Pete BarmBregse and Dave Olsen ar Wamer Bros. Publicarions,

J -y family Cada and Paul, and all the great anists who have inÍluenced my musical psych€.

l - .f Editor: pere Bar€nBEgge

I production Coordinaror: Sharon Marlow

I Engraver: Ádrian Áharcz

I *l Design: Carmen Fortunaro

I Oll etudes composed and aranged by Bob MinrzerI @ 2000 MINTZER MUSIC CO. (A5CAP) A Rights Reserved

I Exdusive Worldwide Disrriburion by WARNER BROS. PUBLICATIONS, U.S. tNC.

II Any duplicalion, adaphrion or arrangement of rhe composirjons

I contained in this colleclion requires lhe v,rirren consent ofrhe Publisher.

I No pan of this book may be photocopied or rcproduced in any way wirhout p€rmission.

I UnaulhorÈed uses are an infringement of the U.5. Copyrighr Acr anà ar" punirh"bl" by l"*,.

=tFllG?

"-r#. TABLE OF CONTENTS

.È-

cD DEMO WBOB MTNTZER .................. cD TMCK I

cD DEMO WBOB MTNTZER .................. cD TRACK 3

cD DEMO w/30B MINTZER .................. cD TMCK 5

cD DEMO WBOB MINTZER .................. cD TMCK 7

cD DEMO WAOB MINTZER .................. cD TRACK 9

cD DEMO WBOB MTNTZER .................. cD TMCK II

cD DEMO Vr/BOB MINTZER ..................cD TRÁCK 13

cD DEMO W/BOB MTNTZER .................. cD TMCK 15

cD DEMO WBOB MTNTZER .................. cD TRACK t7

cD DEMO W/BOB MINTZER .................. cD TMCK t9

BOB MINTZERDiversification has always been a focus for Bob Mintzer. Aside from being a tenor and soprano saxophonist,Bob also plays flute, clarinet, and EWI and is world renowned as a composer, arranger, anà educator. He hasbeen active in the jazz, pop, orchestra, Latin, and world music g"rr..r. ;I'u. altvays

-been intrigued by the dif-

ferences and similarities between cultures and their respective ait forms," says Bob.

As leader, he has recorded ll big band CDs for the DMP label, with four Grammy norninarions, and eightsmall group jazz CDs for BMG, OWL, Canyon, and DMp'Wamer

Bros. Publications has published two jazz etudes books by Bob Mintzer tirled 14 Jazz €x Funh Etuàes and14 Jazz & Blues Etudes. They are used successfully worldwide and give a glimpse of BobCmusical conceps.

Bob is a ten-year member of the contemporary jazz group the Yellowjackets. This band has received numer-ous Grammy nominations and is a regular participant aÍ major j^zz festivals throughout the world. He hasrecorded eight CDs with the Jackets and works with them four monrhs out of the yá Bob performs with hisown big band periodically and also works with many other bands as a player, a guárt condrrcior and soloisr onan ongoing basis, and he also has a working jazz quartet. The educatiónal scene is vital for keeping the musicalive for Bob. He performs at 20_ workshops annually as well as maintaining a busy schedule tàaching privatesaxophone at Manhattan School_ of Music. As a player on more than 30-0 recoidings, nob has pJformedand,/or recorded with Buddy Rich, Thad Jones/Mel Lewis Big Band, Louie Bellson, Jáco pastorius, MichaelFranks, the Yellowjackets, Take Six, Bobby McFerrin, Dave Liebman, Randy Brecker, George Gruntz, SteveWinwood, Diana Ross, Queen, the American Saxophone Quarr.er, New York Philharmonic, Tio puenre. EddiePalmieri, and Mongo Santamaria.

PERFORMANCE NOTESWhen playing through the etudes, try to play the notes "far" and connected, unless otherwise indicated by adot or roof accent À over the note. This will make for a sense of forward motion and energy The short noiesshould not be terribly short but be rather wide so you can really hear them. The notes wiíÉ a roof accent arenot as short as the notes with dots above them. Think of the sound or syllable "baap" for a roof note. Theswing eighth notes should have a triplet feel to them (the two eighths should feel like a quarter note-eighthnote triplet) q9r and be more relaxed than dotted eighth-sixteenth .f! . Where appropriate, I've put in accint-ed notes, my goal being to highlight certain notes that help the groove along and create a musical terrain withchanging dynamics and timbre. Check out my playing onihe cb and you riill hear what I'm talking about.

Each of the etudes has two bars out in ftont so that when you arrive ar bar one, you are comfortable with thetempo and cruising right along. -By all means tap your foot! Better y.t, g"t yó.r. whole body inro ir. Tapyour foot on one and three, and dip or move your upper torso on t\Mo ánd four. The music wilÍ dance if youïbody is dancing!

There are two versions or tracks of each etude báck to back on the CD. The first track is wirh me playing thetenor saxophone' Here you can listen and get the vibe of what the etude is about and focus on ardculation.concePt, tone, and rhythmical feel. You are urged to play along with me in this first version until comfortable.The second tÍack is a play-along version with rhythm section accompaniment only Here you can develop apersonal interpretation of the piece and work on internal rime and the ability to sing oui the melodies and"project." I encourage you to dive into the harmonic and melodic implications of the eiudes and try improvis-ing over the accompaniment versions using the chord changes proviáed. If you are not quite ready to àive inthat deeply, work on playing the etudes with a good sound, good feel, and an interpretation similar to whatyou hear on the CD' These etudes are steeped in the blues, bebop, and post-bop idiám and will provide yourheart, soul, and ears with some musical food for thought.

The last track on the CD is a bonus track. This is an opportunity for you to develop your musical skills fur-ther by transcribing my improvised saxophone solo aná phil frlarkowitzt improvisà piano solo on the finaltune in this book, "The End." I have written out the first two bars oieu.h soio to get you started.Transcribing these solos will develop your ear uaining, help you hear the form, demonstraie how a solo isconstructed, and provide more musical vocabulary for you to digest.

The rhythm section is burning, so really try to listen to them as well. Most of all, have some fun with theseetudes. Enjoy!

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