Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    1/29

    I

    START

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    II.

    A

    SCAI,E

    FOR

    ALL

    OCCASIONS

    This

    piece

    utilizes

    the

    following

    symmetrical

    scale

    which

    alternates

    a minor

    3rd

    and

    a half

    step.

    The

    scale can

    be

    used

    in

    a variety

    of

    situations

    due

    to it having

    the

    minor

    3rd,

    major

    3rd,

    sharp

    5 and

    major'

    of the

    tonic.

    This

    works

    well

    with

    major

    7th,

    sharp

    5

    or flat

    5, and if

    lou

    flat

    the

    7th

    G);you

    can use

    it

    to color

    dor

    nant

    7th

    chords.

    The

    tonal

    center

    of

    the

    piece

    is

    G

    and

    pretty

    much

    uses

    the

    one scale

    in

    a

    variety

    of ways.

    Eighth

    notes

    shor

    be

    played

    long

    and legato

    (connected)

    and

    evenly.

    I

    was

    hearing

    this

    one

    as

    aiazz

    &

    funk

    piece

    with

    a

    Middle

    Eastern

    flavor.

    Try

    figuring

    out

    another groove

    might

    work

    with

    swing,

    hip-hop,

    etc.

    When playing

    on

    the

    blues,

    try to interject

    this

    scale in

    your

    solo. If

    the

    piano

    player

    is listening,

    he/she v

    compliment

    your

    line

    with

    a major

    7th shaqp 5

    chord

    or

    perhaps

    a

    dominant

    7th altered

    chord.

    Example:

    I[,

    A

    S(ALE

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    ALL

    OCCASION

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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    III.

    A

    FUNKY

    STATE

    This

    piece

    developed out of something

    I

    used

    to do on

    Bass

    Clarinet

    and

    later transferred

    to

    Tenor

    Sax.

    I

    involves playing

    typical

    funk and

    blues

    licks

    combined

    with

    bass notes and

    implied

    chord

    changes

    to

    create

    the

    sensa

    tion

    of

    a

    whole

    rhythm

    section

    playing

    with

    the soloist.

    One of the

    first

    people

    I heard

    doing this

    was

    Eddie Harris

    (listen

    to

    "Listen

    Hetre" and "Compared To What'

    on

    Les

    McCann-Eddie Harris

    "Swiss

    Movement").

    Eddie is

    an

    unsung hero

    to

    me

    Playing this

    one

    is

    a

    great

    way to

    work

    on

    your internal time

    as

    well

    as

    being

    able

    to imply

    the

    "feel"

    that

    thr

    rhythm

    section

    typically sets

    up

    in

    a

    groove

    of

    this

    kind.

    You

    will find

    many

    of

    the common

    pentatonic

    and blues-typr

    melodies

    usually

    associated

    with

    funk-blues.

    The large

    interval

    skips will make

    this

    one easier

    to

    play

    on

    some

    instru

    ments

    than on others.

    TITINGS

    TO

    LOOK

    FOR

    1.

    The scale most used

    in

    this

    piece

    is

    a

    form

    of

    pentatonic.

    It

    can be used

    over both dominant 7th

    aqd

    minor

    7th chords.

    2. Avaiation

    of this

    scale

    incorporates both

    major

    and

    minor

    3rds and

    has

    the

    same uses.

    (A

    possible

    use)

    7(t4

    ,,J#1)

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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    V.

    OVER

    THE

    BAR

    LINE

    Over

    The

    Bar

    Line

    was inspired

    by

    the Bach

    Cello Suites

    and should

    be approached

    the same

    way

    musicall

    Playing

    legato

    and

    building

    or receding

    the

    intensity

    of

    the

    line

    will

    help

    the performince

    of

    the

    piece.

    THINGS

    TO

    LOOK

    FOR

    1.

    Although

    the meter

    is

    3/4

    there

    are

    five

    note groups,

    thus creating

    an over-the-bar-line

    situation.

    2.

    The

    notes

    with

    a

    line

    (

    -

    )

    over

    it

    should

    be

    emphasized

    slightly.

    Typically,

    they are

    "bass

    notes"

    and

    can be

    played

    a bit

    longer.

    3. This

    piece

    utilizes

    some

    of

    the chords

    I

    typically

    use in

    my compositions.

    They

    are

    employed

    "broken

    chord

    style"

    ala Bach.

    Steve

    Reich

    has

    done

    similar

    things

    with

    this

    technique.This

    way

    of

    writing enables

    a

    single

    note

    instrument

    to

    create

    the

    sen-

    sation

    of

    playing

    chords.

    The key

    to achieving

    this is playing

    smoothly

    and

    giving

    every note

    full

    value.

    Bars

    5-8

    Example:

    Scale

    A

    -

    Bars 1-4

    c**i'ffq,)t

    Scale

    Saer-e

     

    Do.,o,

    C^j

    *n

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    OVER

    THE

    BAR

    L'NT

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    fionL

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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    VIII"

    SYNCOPATED

    ACCENTS

    This

    piece

    deals

    with

    setting

    up a groove

    and

    accenting

    the

    designated notes

    (those

    v:ith an

    >

    over

    them).

    Th

    tr6th

    notes

    sttould

    be

    played

    as

    accurately

    as

    possible

    and

    the

    accented

    notes

    can

    really

    stancl

    out with the non-accente

    notes

    treing

    considerably

    sofier.

    Ftaying something

    like

    this is

    a

    good

    opportunity

    to

    work

    on time

    and

    feel.

    This

    piece

    is

    written in

    a

    funk

    c

    fusion

    style,

    although

    it

    can be

    approached

    as

    a

    rhythmic

    exercise

    not related

    to

    groove

    as well.

    rfflNGS

    TCI

    I,OOK

    FOR

    1. Again,

    the

    predominant

    scale

    used

    is

    pentatonic

    and is

    typical

    of

    fr-rnk

    and

    trlues

    piaving.

    2.

    Ivleasures

    3

    and

    4

    of

    letter

    B use

    the

    pentatonic

    with rnajor

    and minor

    3rd

    reiat-ionships.

    J.

    This

    approach

    makes

    a

    rhythrnically

    interesting

    solo

    by

    instigating

    tension

    (caused

    by

    syncopation)

    and release

    (playing

    more

    on

    the

    beat).

    22

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    17/29

    IX.

    RHYTHM

    CHANGES

    -

    WIIAT'g

    T[trE

    }YORD?

    Here's

    a

    little

    tune

    I wrote

    based

    on

    "I

    Got

    Rhythm." Rhythm

    changes

    are a

    great

    vehicle

    for

    improvising ir

    that

    the harmony is

    from the

    great

    old

    songs

    of the

    '20's

    and

    '30's

    and

    is

    open

    enough

    to allow for

    many

    different vari

    ations.

    The

    tune

    is f"r:und trom

    letter

    A

    through

    letter

    C and

    the

    "blowing"

    begins at letter

    D.

    I

    attempted

    to

    trav'e

    through

    a variety

    of

    improvising

    styles in

    the soloing

    section

    including Coltrane, Lester Young, Sonny Stitt, Charlit

    Parker

    and

    Dexter

    Gr:rdon.

    Again, this one

    is

    steeped in

    the

    jazz

    "langlage."

    To

    fully

    play this music

    with

    the

    right inflection,

    it

    is essentia

    to put

    the language in

    your

    ears.

    Go

    buy

    the records of

    the

    above mentioned

    afiists

    (and

    more

    -

    Miles Davis,

    Sonn;

    Rollins,

    etc.) and wear them

    outi

    TTTINGS

    TO LOOK

    FOR

    1.

    The

    tune

    (A-C)

    is

    in

    the

    bop

    tradition.

    The bridge

    uses

    the #9, #11

    of

    the dominant 7th

    chords

    t0

    create

    a

    colorful sound"

    2. Measr.ires 1 &

    2 of

    letter

    D

    are a

    typical

    "send off' for a

    bop

    solo.

    The whole rhythm

    section

    can

    play

    this. It

    could

    also be repeared

    at

    the top

    of

    each solo.

    3. Measure 7

    of

    letter F is a

    iilV

    up

    a

    half

    step

    (A#m7

    D#7/l,:m7 D7) eomrnonly

    used

    in

    this

    style.

    4.

    At

    ietter

    G,

    measures

    1

    - 4

    are a

    littie

    variation on the

    changes

    (G7

    Bt

    E7

    N7

    Db7.

    etc.)

    This

    progression,

    like the

    Coltrane changes, sorves as an

    "arc"

    up over the

    original

    changes.

    5.

    At letter H,

    measures 1

    -

    4

    and at

    letter I, I

    -

    4

    are Coltrane's

    alternate changes.

    This

    is

    one

    way

    to

    go

    "outside"

    with

    a

    plan.

    6.

    Letter

    J

    is

    a

    nice

    variation

    on the

    briclge

    changes

    using

    tritone

    substitutions and a half

    step above

    iiiY"

    The eighth measure

    of

    letter

    J

    is

    a

    tritone

    substitution,

    also"

    u

    RHYTF{

    M

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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    Y/*-L99-J

    XI.

    FIVE.FOUR.

    Here is a

    piece

    in

    5t4meter.

    This

    one should

    be

    played

    with

    long eighth

    notes

    and

    connecting

    notes

    to forr

    smooth

    phrases

    is essential. The

    use

    of

    the

    broken

    chords

    is inspired

    by

    the

    writing

    of

    J.S. Bach.

    All of

    us need

    to

    get

    in the

    habit of

    reading

    and

    improvising

    in

    odd

    meters.

    The

    goal

    is

    to

    make

    an

    odd

    mete

    feel

    like

    4/4.

    Again,

    watch

    the dynamics and

    try to

    get

    the

    eighth

    notes

    even and consistently

    played

    with

    good

    timing.

    THINGS

    TO

    LOOK

    FOR

    1. Emphasize

    the notes which have

    a tenuto

    mark

    (-)

    or

    accented

    tenuto mark over

    them.

    They

    are

    the roots

    of

    the

    chords.

    2.Pay

    attention to the dynamics

    3.

    As

    an exercise,

    try

    to analyze the chords

    formed

    by

    the lines I have

    written. Play them

    on

    a

    keyboard.

    M

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    22/29

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    23/29

    XII.

    MAKE

    IT FUNKY

    AGAIN

    This

    is

    another funk

    piece

    which

    encompasses bass,

    melody

    and

    changes

    in

    a single

    line

    tune. The

    tonic

    i

    played

    as

    the

    bass

    part

    and then I

    build

    a

    variety

    of

    things on

    top of

    that.

    Plenty

    of

    standard

    funk

    licks

    are

    here

    as

    well

    as a few

    suqprises.

    This

    piece

    demonstrates

    that

    you

    can

    write

    a

    open

    improvisatory

    situation.

    In

    this

    case,

    G is

    the

    key

    center.

    I

    have

    gone

    through many

    different

    quality

    chords

    b

    playing

    off

    of

    the G

    bass

    notes. The

    sky's

    the limit.

    THINGS

    TO

    LOOK FOR

    1. This

    should

    be

    played

    in

    such

    a

    way

    that

    you

    hear the

    rhythm section

    in

    your head

    and

    can convey the "feel"

    through

    your

    performance.

    2.

    Letter

    C is

    still in

    the

    key of

    G.

    I

    used the

    3rd

    and #9th

    of

    G7 to

    play

    the accompani-

    ment

    groove.

    3.

    The

    bar before letter

    D and letter E,

    use

    a

    broken

    #11

    dominant chord,

    e.g.

    A7(#11)

    This

    can be used

    in

    many settings

    and should be

    played

    and

    practiced

    in all

    keys.

    XI

    IIAI{T

    IT

    TUNKY

    A64IN

    EhrlSTRUNENT

    5

    (unK

    )

    =

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    front

    (erch

    clicl(

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    F,L03952

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    24/29

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    25/29

    X[I.

    SWINGIN'-

    NO

    CHANGES

    This

    piece

    is

    a swing-feel improvisation which doesn't

    have

    chord

    changes.

    Instead, I

    nse

    jazzphrases

    a

    melodic

    themes

    to

    suggest what will come next,

    moving from

    note to note

    in

    the moment.

    Playing

    this

    and other

    stuff

    like

    this

    in

    duet

    with

    a

    drummer

    is a

    great

    thing to

    do.

    When

    playing

    with

    dru

    only

    (minus

    piano

    and bass),

    you

    are

    free to explore

    all

    kinds

    of

    melodic

    avenues. It's

    very

    good

    for

    your

    time

    a

    melodic

    sense.

    THINGS TO

    LOOK FOR

    1.

    The opening

    rhythm

    is

    played

    every

    fourth

    measure

    in

    the

    beginning

    of

    the

    piece

    and serves

    as a irnifying

    device.

    2.

    Some sections

    are

    busy and

    full notes

    and

    some

    sections are

    sparse

    and

    have

    rhythms

    such

    as

    making

    for

    a sense

    of

    change,

    building

    and contrast.

    3.

    I

    try

    to

    take

    a

    melodic

    and/or

    rhythmic

    theme and develop

    them.

    A

    good

    example is

    letter E. Measures I

    -

    2,5

    -

    6,9

    - 10,

    and

    13

    -

    14

    take

    a

    motif and build

    on

    it.

    4.

    Letter

    F is

    in

    the area

    of Bb. I

    used

    pentatonics

    to create the

    sound

    of Bb7sus.

    5. Letter

    G,

    measures

    5

    -

    8

    use descending

    major

    triads

    moving

    on

    whole

    steps.

    You

    can

    also move triads

    in minor

    thirds

    or

    major thirds.

    TIIT,

    SWI

    NG N'-

    NO

    CHANGES

    Eb

    txsrnL)r4lvTs

    Surirrg

    J

    =

    ,zo

    6ur

    clicKs

    in tront

    (each

    click=

    J)

    m

    of

    continuous

    eighth

    EL

    03952

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    26/29

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

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  • 8/18/2019 Jazz & Funk Etudes - Bob Mintzer

    28/29

    XIY.

    FAST

    Like

    the

    title

    reads, this

    piece

    is

    quick,

    fairly diatonic

    and easy to

    hear

    for the

    purpose

    of

    dealing

    with

    a

    blazir

    tempo.

    I have

    found

    it is

    best

    to

    start with something simple

    in working

    on

    playing

    fast, and then

    moving on to thin

    that

    are

    more

    complex

    (perhaps

    that

    will

    be

    a

    piece

    in

    book

    II).

    Practipe

    this slowly at

    first with a metronome,

    gradually

    increasing the

    tempo

    once

    you

    are

    comfortable

    wi

    the

    tempo

    at

    hand.

    Here's

    a

    hint

    -

    one

    thing

    that can

    help

    you

    to

    play

    fast is to establish strong beats every other measure,

    e.g.

    This is

    much

    less cumbersome than

    rather

    than

    groups

    of

    single beats.

    BLAZE ON

    tapping on every

    quarter

    note.

    The idea

    is

    to

    have

    groups

    of eight ber

    -vTr

    EAST/

    Eb

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