bob mintzer - 15 easy etudes for bb clarinet and trumpet

7/26/2019 Bob Mintzer - 15 Easy Etudes for Bb Clarinet and Trumpet

1/35

TRUMPET

ND

CLARINET

INTRODUCTION

book is

$Titten for

a wide variety of musicians, om aspiring to the more experienced players who would like to get another perspec-

melody,

swing, concePt,

improvising,

sight-reading,

and general

musicianship.

To

b accessible

to

the young".-p1"y".,

there is par-

care given

to range,

r\thmic

ligures,

and

overall playability

t

the same

time, I attempt

to maintain

a'high'evl

of musicality

and

at improYisation

and composition

from

a

concise,

simple,

and lyrical

viewpoint,

which t

hope

will appeal

to the professionai

and

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

playing

the clarinet.

He

needed

to play sorne

music

that was

iun, inspirational,

and steped

in

the

jazz

and blues

tradition.

s I wrote

etudes, Paul

would

play them.

s

a result,

his sight-reading

and sense

of time

and phrasing

grelri

by great

leaps

and bounds.

Many

Paul

essence.

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

Funh

Etues

and. 4 Blues

& Funh Etudes,

n

which you

leam

each

slowly

and then, when

ready play

the

etude along

with

the

CD accompaniment.

The

focus is

on melodic

groove

playing,

which

the lyrical

side of

the music:

not a lot

of hard

stuff but rather

an example

of rnelodies

har draw on the aiz andluesditi

t lon,

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

how

t|

PlaY azz

and

blues through

leaming

by memory

the solos

ofjazz legends

Lester

Young,

Charlie

parker,

John

Coltrane.

stitt, and

others. This

was

the musical

vocabulary

I needed

to get

started.

It wasnt

until I started

touring

with

bands in

the early

l began

to read books

wi

a

passion

(all

of

that down

time

on tour buses).

After

a while, my

vocabuliry

and

ability to

express

trough

spoken

word

dramatically

improved.

In

a similar

way, my musical

vocabulary

and playing

improved

through listening

to

of music

and trying

to emulate

the musical

ideas

I'd hear

my heroes play

This

transcripve

.on.ept

s"t in

an .tude format

will aiow

to learn

the

written notes

easily

through repeated

playing,

and you

will be amazed

hw httle

snippets

of these

melodies

will

work

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

in this age

of mass

volurne

and instant

gratiication.

But

even the

most abstract

and cutting-edge

players

have firm

oots

and simplicity

of ideas.

Ly-rical

azz

players

who have had

a strong influence

in

the deielofmen

of my own

person-

ot

Pla).rng

are Miles

Davis,

Stan

Getz, Lee Konitz,

Paul

Desmond,

Hank Mobley,

and B.B.

King,

among many

others.

6't@

My thanks

o the

great

musicians

n

rheCD:John

Rileydrums;Phil

Markowitz. iano:

ad

Deanjohnson.

ass,

nd o engineerjim

Clouse t Park

west

Studios n Brookiyn.

Ny

Thanks

lso o PeteBarmBregse

nd Dave

Olsenar WamerBros.

Publicarions,

-y family

Cada

and Paul, and

all the great

anists who have

nluenced

my musical psych.

- .

Editor:

pere

BarnBEgge

production

Coordinaror:

haronMarlow

Engraver:

drian

harcz

*l Design:CarmenFortunaro

Oll

etudes

composedand

aranged

by Bob Minrzer

@ 2000

MINTZER

MUSIC

CO.

A5CAP)

A Rights

Reserved

Exdusive

Worldwide

Disrriburion

by WARNER

BROS.PUBLICATIONS,

U.S. NC.

Any

duplicalion,

daphrion

or arrangement

f rhecomposirjons

containedn

this colleclion

equires

he

v,rirren

onsent

frhe Publisher.

No pan

of this book may

be photocopied

or rcproduced n

any way wirhout prmission.

Unaulhored

ses re

an nfringement

f the

U.5.CopyrighrAcr

anar" punirh"bl"

by "*,.


2/35

=tFllG?

"-r#.

TABLE

OF

CONTENTS

-

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

cD DEMO

WBOBMTNTZER.................

cD TRACK

cD DEMOw/30B

MINTZER.................

cD TMCK 5

cD DEMOWBOBMINTZER

.................

cD TMCK 7

cD DEMOWAOB

MINTZER.................

cD TRACK

cD DEMO

WBOBMTNTZER.................

cD

TMCK

II

cD

DEMO

r/BOB INTZER

..................cDRCK 3

cD DEMOW/BOB

TNTZER.................

cD TMCK 15

cD DEMOWBOB

MTNTZER.................

cD

TRACK

7

cD

DEMO

W/BOB INTZER

.................

cD TMCK 9


3/35

BOB

MINTZER

Diversification

asalways

been

a focus

or Bob

Mintzer.

Aside

rom

being

a tenor

and soprano

axophonist,

Bob

alsoplays

lute,

clarinet,

and EWI

and

s world

renowned

s

a composer,

rranger,

n

educator.

He has

been

active n

the

azz,

pop,

orchestra,

atin,

and world

music

g"rr..r.

;I'u.

altvays

-been

intrigued

by the

dif-

ferences

ndsimilarities

etween

ultures

and

heir respective

it forms,"

says

Bob.

As leader,

he has

recorded

l

big band

CDs for

the DMP

label,

with

four

Grammynorninarions,

nd eight

smallgroup

azz

CDs or BMG,

OWL,

Canyon,

nd DMp

'WamerBros.Publicationsaspublished

wo

azz

etudes

ooksby

BobMintzer

irled 14

azz

x Funh

tues

nd

14

Jazz

& BluesEtudes.

They

are

usedsuccessfully

worldwide

and give

a glimpse

of BobCmusical

onceps.

Bob

s

a ten-year

member

of the

contemporary

azz

group

the Yellowjackets.

his

bandhas

eceived

umer-

ous Grammy

nominations

nd is

a regular

participant

a major

^zz

festivals

hroughout

he world.

He

has

recorded

ight CDs

with

the

Jackets

nd works

with

them our

monrhs

out

of the y

Bobperforms

with his

own

big band

periodically

nd also

works

with many

otherbands

as

a

player,

gurt

condrrcior

nd

soloisron

an ongoing

basis,

nd he

alsohas

a working

azz

quartet.

The

educatinal

cene

s vital

for

keeping

he music

alive

or Bob.

He performs

at 20_ orkshops

nnually

aswell

asmaintaining

busyschedule

aching

rivate

saxophone

t Manhattan

School_

f

Music.

As a player

on more

than

30-0 ecoidings,

nob has

pJformed

and,/or

ecorded

with

Buddy

Rich,

Thad

Jones/Mel

ewis

Big Band,

Louie

Bellson,

co

pastorius,

Michael

Franks, he Yellowjackets,akeSix,BobbyMcFerrin,DaveLiebman,RandyBrecker,GeorgeGruntz, Steve

Winwood,

Diana

Ross,

Queen,

he American

Saxophone

uarr.er,

ew

York Philharmonic,

io

puenre.

Eddie

Palmieri,

and

Mongo

Santamaria.

PERFORMANCE

OTES

When

playing

hrough

he

etudes,

ry to play

the

notes

far"

and

connected,

nlessotherwise

ndicated

by a

dot or roof

accent

over he

note.

This

will

make or

a sense

f forward

motion

and

energy

The short

noies

should

not be

terribly

short

but be rather

wide

so you

can reallyhear

hem.

The notes

wi

a roof

accent

are

not

as short

as the notes

with

dots

above

hem. Think

of the

soundor

syllable

baap"

or

a roof

note. The

swing

eighth notes

should

have

a triplet

feel

o them

(the

two eighths

should

eel ike

a quarter

note-eighth

note riplet) q9r and be more elaxedhandottedeighth-sixteenthf . Whereappropriate,

've put

in accint-

ed notes,

my goal

being o

highlight

certain

notes

hat help

the groove

along

and

create

musical

errainwith

changing

ynamics

nd

timbre.

Check

out my playing

onihe

cb andyou

riill hear

what

I'm

talking about.

Each

of the

etudes as

wo

barsout in

ftont

so that

when you

arrive

ar bar

one,you

are

comfortable

with

the

tempo

and

cruising right

along.

-By

all means

ap your

foot

Better

y.t, g"t

y.r. whole

body inro

ir. Tap

your

foot

on one

and three,

and

dip

or moveyour

upper

orso

on t\Mo

nd four.

The music

wil

dance

f you

body s

dancing

There

are wo versions

r tracks

of

eachetude

bck

o back

on the

CD. The

first

track s wirh

me playing

he

tenor

saxophone'

Here

you

can isten

and get

the vibe

of

what

the etude s

about

and focus

on

ardculation.

concePt,

one,and rhythmical

eel.

You

areurged

o play

alongwith

me n

this first

version

until

comfortable.The second ack is a play-along ersionwith rhythm sectionaccompanimentnly Hereyou

can develop

a

personal

nterpretation

f

the piece

and work

on internal

rime

and the

ability

to sing

oui the

melodies

and

"project."

I encourage

ou

to dive

nto

the harmonic

and melodic

mplications

f the

eiudes nd

try improvis-

ing

over he

accompaniment

ersions

sing

he chord

changes

rovied.

If you

arenot

quite

ready

o ive

n

that

deeply,work

on playing

he etudes

with

a good

sound,

good eel,

and

an interpretation

imilar

to what

you

hear

on the

CD' These

tudes

re

steeped

n the

blues,

bebop,and

post-bop

dim

andwill provide

your

heart,

soul,

and earswith

some

musical

ood

or thought.

The

ast track

on the

CD is

a

bonus rack.

This

s an

opportunity

or you

to develop

our

musical

skills fur-

ther

by

transcribing

my improvised

saxophone

solo an

phil

frlarkowitzt

improvis

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.

Transcribinghesesoloswill develop our ear uaining, help you hearthe form, demonstraie ow a solo s

constructed,

nd provide

more

musical ocabulary

or you

to digest.

The

rhythm

section

s burning,

so

really

ry to listen

o

them as well.

Most

of all,

havesome

un with

these

etudes.

Enjoy


4/35

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bob mintzer - 15 easy etudes for bb clarinet and trumpet

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