B, TRUMPET AND CLARINET INTRODUCTION

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B, TRUMPET AND CLARINET INTRODUCTION
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  B, TRUMPET ND CLARINET 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"., there is par-----ular care given 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 andr.-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 oldr: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 leaps and bounds. Many--urks. 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 ë Funh Etuàes and. 4 Blues & Funh Etudes, n which you leam eacht--.rde slowly and then, when ready play the etude along with the CD accompaniment. The focus is on melodic groove playing, which È''-als ith the lyrical side of the music: not a lot of hard stuff but rather an example of rnelodies har draw on the aiz and Èlues áditi tlon, ang like crazy, and ger right ro the heart of the matrer.E L2m:d. how t| PlaY azz and blues through leaming by memory the solos ofjazz legends Lester Young, Charlie parker, John Coltrane.t:rf,r\' stitt, and others. This was the musical vocabulary I needed to get started. It wasnt until I started touring with bands in the earlyI- -\ that l began to read books wiÈ a passion (all of that down time on tour buses). After a while, my vocabuliry and ability to expressIt--es tÀrough spoken word dramatically improved. In a similar way, my musical vocabulary and playing improved through listening tor: :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; (o to learn the written notes easily through repeated playing, and you will be amazed hàw httle snippets of these melodies will workfcu 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|FularaPProach in this age of mass volurne and instant gratiÍication. But even the most abstract and cutting-edge players have firm ÍootsF -:,*jT.:t*n8, and simplicity of ideas. Ly-rical azz players who have had a strong influence in the deielofmení of my own person-F 5Ít1e ot Pla).rng are Miles Davis, Stan Getz, Lee Konitz, Paul Desmond, Hank Mobley, and B.B. King, among many others. I I I 6't@ I I My thanks o the great musicians n rhe CD:John Riley drums;Phil Markowitz. iano: aÍdI Deanjohnson. ass, nd o engineerjim Clouse t Park west Studios n Brookiyn. NyI Thanks lso o Pete BarmBregse nd Dave Olsen ar Wamer Bros. Publicarions,J -y family Cada and Paul, and all the great anists who have nÍluenced my musical psych€. l-. f Editor: pere Bar€nBEggeI production Coordinaror: haron MarlowI Engraver: drian ÁharczI *l Design: Carmen FortunaroI Oll etudes composed and aranged by Bob MinrzerI @ 2000 MINTZER MUSIC CO. A5CAP) A Rights ReservedI Exdusive Worldwide Disrriburion by WARNER BROS. PUBLICATIONS, U.S. NC. I I Any duplicalion, daphrion or arrangement f rhe composirjonsI contained n this colleclion equires he v,rirren onsent frhe Publisher.I No pan of this book may be photocopied or rcproduced n any way wirhout p€rmission.IUnaulhorÈed ses re an nfringement f the U.5. Copyrighr Acr anà ar" punirh"bl" by "*,.  =tFllG? "-r#. TABLE OF CONTENTS .È-cD DEMO WBOB MTNTZER ................. cD TMCK IcD DEMO WBOB MTNTZER ................. cD TRACK cD DEMO w/30B MINTZER ................. cD TMCK 5cD DEMO WBOB MINTZER ................. cD TMCK 7cD DEMO WAOB MINTZER ................. cD TRACK cD DEMO WBOB MTNTZER ................. cD TMCK IIcD DEMO r/BOB INTZER ..................cD RÁCK 3cD DEMO W/BOB TNTZER ................. cD TMCK 15cD DEMO WBOB MTNTZER ................. cD TRACK 7cD DEMO W/BOB INTZER ................. cD TMCK 9  BOB MINTZER Diversification as always been a focus or Bob Mintzer. Aside rom being a tenor and soprano axophonist,Bob also plays lute, clarinet, and EWI and s world renowned s a composer, rranger, nà educator. He hasbeen active n the azz, pop, orchestra, atin, and world music g"rr..r. ;I'u. altvays -been intrigued by the dif-ferences nd similarities etween ultures and heir respective it forms," says Bob.As leader, he has recorded l big band CDs for the DMP label, with four Grammy norninarions, nd eightsmall group azz CDs or BMG, OWL, Canyon, nd DMp'Wamer Bros. Publications as published wo azz etudes ooks by Bob Mintzer irled 14 azz €x Funh tuàes nd14 Jazz & Blues Etudes. They are used successfully worldwide and give a glimpse of BobCmusical onceps.Bob s a ten-year member of the contemporary azz group the Yellowjackets. his band has eceived umer-ous Grammy nominations nd is a regular participant aÍ major ^zz festivals hroughout he world. He hasrecorded ight CDs with the Jackets nd works with them our monrhs out of the yá Bob performs with hisown big band periodically nd also works with many other bands as a player, guárt condrrcior nd soloisr onan ongoing basis, nd he also has a working azz quartet. The educatiónal cene s vital for keeping he musicalive or Bob. He performs at 20_ orkshops nnually as well as maintaining busy schedule àaching rivatesaxophone t Manhattan School_ f Music. As a player on more than 30-0 ecoidings, nob has pJformedand,/or ecorded with Buddy Rich, Thad Jones/Mel ewis Big Band, Louie Bellson, áco pastorius, MichaelFranks, he Yellowjackets, ake Six, Bobby McFerrin, Dave Liebman, Randy Brecker, George Gruntz, SteveWinwood, Diana Ross, Queen, he American Saxophone uarr.er, ew York Philharmonic, io puenre. EddiePalmieri, and Mongo Santamaria. PERFORMANCE OTES When playing hrough he etudes, ry to play the notes far" and connected, nless otherwise ndicated by adot or roof accent À over he note. This will make or a sense f forward motion and energy The short noiesshould not be terribly short but be rather wide so you can really hear hem. The notes wiíÉ a roof accent arenot as short as the notes with dots above hem. Think of the sound or syllable baap" or a roof note. Theswing eighth notes should have a triplet feel o them (the two eighths should eel ike a quarter note-eighthnote riplet) q9r and be more elaxed han dotted eighth-sixteenth f . Where appropriate, 've put in accint-ed notes, my goal being o highlight certain notes hat help the groove along and create musical errain withchanging ynamics nd timbre. Check out my playing onihe cb and you riill hear what I'm talking about.Each of the etudes as wo bars out in ftont so that when you arrive ar bar one, you are comfortable with thetempo and cruising right along. -By all means ap your foot Better y.t, g"t yó.r. whole body inro ir. Tapyour foot on one and three, and dip or move your upper orso on t\Mo nd four. The music wilÍ dance f youïbody s dancing There are wo versions r tracks of each etude báck o back on the CD. The first track s wirh me playing hetenor 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 are urged o play along with me n this first version until comfortable.The second Íack is a play-along ersion with rhythm section accompaniment nly Here you can develop apersonal 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 roviáed. If you are not quite ready o àive nthat deeply, work on playing he etudes with a good sound, good eel, and an interpretation imilar to whatyou hear on the CD' These tudes re steeped n the blues, bebop, and post-bop diám and will provide yourheart, soul, and ears with 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 aná phil frlarkowitzt improvisà piano solo on the finaltune in this book, "The End." I have written out the first two bars oieu.h soio to get you started.Transcribing hese solos will develop our ear uaining, help you hear the form, demonstraie ow a solo sconstructed, 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, have some un with theseetudes. Enjoy  3b Qul,t?e'vctA?tNÉÍ A?í*51 0ni? 01 -- I, gluÉÊ , q$0ui? êui1êui? c? 0ni? c? fi 11 ? 11 gh1 0ui? MÉ0. tt)rNqc? 0ui? C?í*51  @ c? C?í*51 arí*sl q? @ c? (1 c?t1 crí*sl - c?í+51 luil A1
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