B, TRUMPET

ANDCLARINET

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".,
----ular care given there is par-
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 and
r.-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 old
r: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
--urks. Paul! leaps and bounds. Many

--- 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 each
t--.rde slowly and then, when ready play the etude along with the CD accompaniment. The focus is on melodic groove
playing, which
È''-alsvith the lyrical side of the music: not a lot of hard stuff but rather an exampleof rnelodiesthar draw on the
iaiz and Èluesáditil tlon,
ang like crazy,and ger right ro the heart of the matrer.

L2m:d. how t| PlaYiazz and blues through leaming by memory the solos ofjazz legends Lester Young, Charlie parker,
E
t:rf,r\' stitt, and others. This was the musical vocabulary I needed John Coltrane.
to get started. It wasnt until I started touring with bands in the early
-\ that l began to read books wiÈ a passion (all of that down time on tour buses). After a while, my vocabuliry and
I- ability to express
It--es tÀrough spoken word dramatically improved. In a similar way, my musical vocabulary and playing improved
through listening to
r: :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
to learn the written notes easily through repeated playing, and you will be amazed hàw httle snippets of these melodies
;!(o will work
rzy into your improvising. In the art of jazz improvisation, you can say a lot with a few words. I realize that
fcu this is not the mosr
in this age of mass volurne and instant gratiÍication. But even the most abstract and cutting-edge players have firm Íoots
|FularaPProach
-:,*jT.:t*n8, and simplicity of ideas. Ly-ricaljazz players who have had a strong influence in the deielofmení of my own person-
F
5Ít1eot Pla).rngare Miles Davis, Stan Getz, Lee Konitz, Paul Desmond, Hank Mobley, and B.B. King, among many others.
F
II

I
I
6't@
My thanksto thegreatmusicianson rhe CD:JohnRileydrums;Phil Markowitz.piano:aÍd
I
I Deanjohnson.bass,and to engineerjimClouseat Parkwest Studiosin Brookiyn.Ny
I Thanksalsoto PeteBarmBregse and DaveOlsenar WamerBros.Publicarions,
-y family Cada and Paul, and all the greatanists who haveinÍluenced my musical psych€.
J
l - .
Editor: pereBar€nBEgge
f productionCoordinaror:SharonMarlow
I Engraver:ÁdrianÁharcz
I
*l Design:CarmenFortunaro
I
I Oll etudescomposedand aranged by Bob Minrzer
I @ 2000MINTZERMUSICCO. (A5CAP)A RightsReserved
Exdusive Worldwide Disrriburion by WARNERBROS.PUBLICATIONS,U.S. tNC.
I
I
I Any duplicalion,adaphrionor arrangement of rhe composirjons
I containedin this colleclionrequireslhe v,rirrenconsentofrhe Publisher.
I No pan of this book may be photocopied or rcproducedin any way wirhout p€rmission.
UnaulhorÈedusesarean infringementof the U.5.CopyrighrAcr anà ar" punirh"bl" by l"*,.
I
=tFllG?
TABLEOF CONTENTS
"-r#.

cD DEMOWBOBMTNTZER
.................. cD TMCK I

cD DEMOWBOBMTNTZER
.................. cD TRACK
3
.È-

cD DEMOw/30B MINTZER.................. cD TMCK 5

cD DEMOWBOBMINTZER
.................. cD TMCK 7

cD DEMOWAOBMINTZER.................. cD TRACK9

cD DEMOWBOBMTNTZER
.................. cD TMCK II

cD DEMOVr/BOB
MINTZER ..................cD
TRÁCK13

cD DEMOW/BOBMTNTZER
.................. cD TMCK 15

cD DEMOWBOBMTNTZER
.................. cD TRACKt7

cD DEMOW/BOB
MINTZER
.................. cD TMCK t9
 BOBMINTZER
Diversificationhasalwaysbeena focusfor Bob Mintzer. Asidefrom beinga tenor and sopranosaxophonist,
Bob alsoplaysflute, clarinet,and EWI and is world renownedasa composer,arranger,anà educator.He has
-been
beenactivein thejazz, pop, orchestra,Latin, and world musicg"rr..r. ;I'u. altvays intriguedby the dif-
ferencesand similaritiesbetweenculturesand their respective
ait forms,"saysBob.
As leader,he has recordedll big band CDs for the DMP label,with four Grammynorninarions,and eight
smallgroupjazz CDsfor BMG,OWL, Canyon,and DMp
'Wamer
Bros.Publicationshaspublishedtwo jazz etudesbooksby BobMintzertirled 14
Jazz€x FunhEtuàesand
14Jazz & BluesEtudes.They areusedsuccessfullyworldwide and give a glimpseof BobCmusicalconceps.
Bob is a ten-yearmemberof the contemporaryjazz group the Yellowjackets.This band hasreceivednumer-
ous Grammynominationsand is a regularparticipantaÍ majorj^zz festivalsthroughoutthe world. He has
recordedeight CDswith theJacketsand works with them four monrhsout of the yá Bobperformswith his
own big band periodicallyand alsoworks with manyotherbandsasa player,a guárt condrrciorand soloisron
an ongoingbasis,and he alsohasa workingjazz quartet. The educatiónalsceneis vital for keepingthe music
alive for Bob. He performsat 20_workshopsannuallyaswell asmaintaininga busyscheduletàachingprivate
saxophoneat ManhattanSchool_ of Music. As a player on more than 30-0recoidings,nob has pJformed
and,/orrecordedwith Buddy Rich, ThadJones/MelLewis Big Band,Louie Bellson,
Jáco pastorius,Michael
Franks,the Yellowjackets, Take Six, BobbyMcFerrin, DaveLiebman,RandyBrecker,GeorgeGruntz, Steve
Winwood, DianaRoss,Queen,the AmericanSaxophone New York Philharmonic,Tio puenre.Eddie
Quarr.er,
Palmieri,and MongoSantamaria.

PERFORMANCE
NOTES
When playing through the etudes,try to play the notes"far" and connected,unlessotherwiseindicatedby a
dot or roof accent À over the note. This will makefor a senseof forwardmotion and energy The short noies
should not be terribly short but be ratherwide so you can reallyhearthem. The noteswiíÉ a roof accentare
not as short as the noteswith dots abovethem. Think of the soundor syllable"baap"for a roof note. The
swing eighth notesshould havea triplet feel to them (the two eighthsshould feel like a quarternote-eighth
note triplet) q9r and be morerelaxedthandottedeighth-sixteenth.f! . Whereappropriate,I've put in accint-
ed notes,my goalbeing to highlight certainnotesthat help the groovealongand createa musicalterrainwith
changingdynamicsand timbre. Checkout my playingonihe cb and you riill hearwhat I'm talking about.
Eachof the etudeshastwo barsout in ftont so that when you arrivear bar one,you arecomfortablewith the
tempo and cruising right along.
-By all meanstap your foot! Bettery.t, g"t yó.r. whole body inro ir. Tap
your foot on one and three,and dip or moveyour upper torsoon t\Moánd four. The musicwilÍ danceif youï
body is dancing!
Therearetwo versionsor tracksof eachetudebáckto back on the CD. The first track is wirh me playingthe
tenor saxophone'Hereyou can listenand get the vibe of what the etudeis aboutand focuson ardculation.
concePt,tone,and rhythmicalfeel. Youareurgedto play alongwith me in this first versionuntil comfortable.
The secondtÍack is a play-alongversionwith rhythm sectionaccompaniment only Hereyou can developa
personalinterpretationof the pieceand work on internal rime and the ability to sing oui the melodiesand
"project." I encourage
you to dive into the harmonicand melodicimplicationsof the eiudesand try improvis-
ing over the accompaniment versionsusing the chord changesproviáed. If you arenot quite readyto àive in
that deeply,work on playing the etudeswith a good sound,good feel,and an interpretationsimilar to what
you hearon the CD' Theseetudesaresteepedin the blues,bebop,and post-bopidiám and will provideyour
heart,soul,and earswith somemusicalfood for thought.
The last track on the CD is a bonustrack. This is an opportunityfor you to developyour musicalskills fur-
ther by transcribing my improvised saxophonesolo aná phil frlarkowitzt improvisà piano solo on the final
tune in this book, "The End." I havewritten out the first two bars oieu.h soio to get you started.
Transcribingthesesoloswill developyour ear uaining, help you hear the form, demonstraiehow a solo is
constructed,and providemoremusicalvocabularyfor you to digest.
The rhythm sectionis burning,so really try to listen to them as well. Most of all, havesomefun with these
etudes.Enjoy!
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