Jazz & Funk Etudes - Bob Mintzer
Transcript of Jazz & Funk Etudes - Bob Mintzer
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8/18/2019 Jazz & Funk Etudes - Bob Mintzer
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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:
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ALL
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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)
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Ig
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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
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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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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
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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.
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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
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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
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clicKs
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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
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Eb
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