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

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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

    S

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

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

    6/29

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

    7/29

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

    8/29

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

    9/29

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

    10/29

    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.

    Th