By BOB MINTZER

TABLE OF CONTENTS
Introduction ................................................................................................................................. 2
1. Start With The Blues ................................................................................................................... 3
2. A Scale For All Occasions .......................................................................................................... 8
3. A Funky State ............................................................................................................................ 10
4. Fourthright ................................................................................................................................ 13
5. Over The Bar Line .................................................................................................................... 16
6. All The Things You Could Play ................................................................................................ 18
7.. Slowly .......................................................................................................................................21
8. Syncopated Accents ..................................................................................................................22
9. Rhythm Changes - What's The Word? .....................................................................................24
10. Abstract .....................................................................................................................................28
11. Five-Four ................................................................................................................................... 30
12. Make It Funky Again ................................................................................................................32
13. Swingin' - No Changes ............................................................................................................. 34
14. Fast! ........................................................................................................................................... 38

Bob Mintzer· Tenor Sax

Phil Markowitz - Plano and Synthesizer
John Riley - Drums
James Genus· Acoustic and Electric Bass

Engineered by • Jim Clouse

Recorded at Park West Studio, Brooklyn, New York

Special thanks·to Jack Bullock, Aaron Stang, and Tod Edmondson at Warner Bros. Publications Inc.
Thanks to Jim Clouse for his expertise and speed In the studio.
Thanks to the Musicians, who did a great job.

All etudes composed and arranged by Bob Mintzer

C 1994 MINTZER MUSIC CO.
exclusive Worldwide Distributor: ALFRED PUBLISHING CO., INC.

Any duplication, adaptation or arrangement of the compositions

contained in this collection requires the written consent of the Publisher.
No part of this book may be photocopied or reduced In any way without permission.
Unauthorized uses are an infringement of U.S. Copyright Act and are punls,",able by Law.
 B Instruments

14 JAZZ & FUNK ETUDES

By BOB MINTZER

Introduction
Here are 14 etudes or short pieces dealing with various aspects of jazz & funk music. Stylistic influences
include jazz, classical style, 20th Century composition, funk, and a variety of hybrid groove musics. The melodic and
rhythmic focus will enable the player to work on many kinds of music and prepare for the various playing situations
he/she may encounter in jazz & funk music.
The melodic approach ranges from simple to dissonant and abstract. The rhythmic approach covers straight-for-
ward, syncopated and over-the-barline techniques. The clear layout and explanations make these etudes accessible to
all levels of players on all instruments. You only need to be a moderately good reader and have the desire to move for-
ward.

The intended focus of this book is fourfold.

1. These 14 etudes are constructed as solo pieces to be played by any instrument as self-
contained, unaccompanied musical works.
2. The accompanying recording will enable the player to play the pieces along with
rhythmic and (in some cases) harmonic accompaniment.
3. The etudes can be played in live situations with live drums, piano, and bass (where
appropriate).
4. The music in this collection will hopefully be a workbook for improvising and com-
posing musicians in the sense of providing melodic and harmonic material applicable
to various music situations one might encounter today.

Each etude is prefaced by an explanation and "points of interest. n Practice hints are included. When practicing
the etudes, use a metronome and choose a tempo comfortable for your perfonnance level. Gradually work the piece up
to the designated tempo and then use the tape to play along with. Better yet, grab a drummer and play the appropriate
etudes. Try different grooves and tempos.
This book illustrates some of the things I do as a composer and player. I hope they are useful to you. Enjoy!

EL03950 2
I. START WITH THE BLUES
Blues are so much a part of jazz and improvised music today that it seemed logical to start with a blues "head"
followed by seven choruses of "improvised style" material. The first solo chorus (letter A) is somewhat sparse and
melodic, from there each chorus gets more intense and complex, winding up with a flurry of 16th notes on the 7th chorus
(letter G). This piece demonstrates how one might build a blues solo with shape, gradual evolution and momentum.

THINGS TO LOOK FOR

1. The head (first 12 bars) uses a broken chord that I use frequently in writing and
playing which is very colorful because it includes the sus4 and 9th of the scale. A
chord instrument will play FIG or G7sus with this, although the implied harmony is
so strong that you don't really need the chord played behind the line.

II
2. Chorus 1 (letter A) is full of "be-bop" language. The chord changes move in a tradi-
tional way... a good place to start.
3. Chorus 2 (letter B) uses a tritone substitution in the fourth bar. Instead ofDm7 G7, I went
up a tritone to 0#m7 C#7. It is not necessary for the piano player to play G#m7 C#7. If
he plays G7 or Dm7 07, the resulting dissonance is very effective and colorful.
4. Chorus 3 (letter C) utilizes two Coltrane chord progressions (bars 1-4, 9-12). These
progressions serve as an organized way of going "outside" the traditional changes
(letter A). Again the chord instrument need not play the Coltrane changes with the
soloist, although adding the #9, #11, and ~9 to the dominant 7th chords is helpful and
in character with the Coltrane lines.
5. Chorus 4 (letter D) uses several pentatonic scales and some triadic devices (bar 7-9).
Coltrane is very influential here. Chorus 5 is more of the same.

,- • • • •
,
II
6. Chorus 6 (letter F) is probably the most melodically abstract of the group. It starts with
ascending 5th a major 3rd apart. Bass and Piano might playa D pedal (5th of tonic)
through this section which is a good way to create tension. Also, I use a repeating
rhythmic figure which sets up a three against four feeling.

t ,), j
J. r II
One of the first problems I encountered in playing jazz was trying to play modern or "out" before having a
good foundation in blues, swing and bop. These styles in music have a language that need to be learned through listen-
ing. One must bathe their ears with the sound of blues and bop to learn how to play. Along with learning what notes
and scales work over their respective chords, you need to learn the attitude and the "vibe." I did this (and still do)
through listening to records and live performances.

Learning the notes I have written is only part of the story. The rest lies in learning the language through listening.

I tried to write down the kind of "stuff' I might play when soloing on the blues. Incorporated into this first
etude is the implied harmony and groove. This is a good opportunity to work on these qualities and time. Try to hear
the "rhythm section in your head" when playing this.

EL03950 3
 I. START \.,11TH THE BLUES
S~ INSTRUMENTS

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EL03950 7
ll. A SCALE 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 7th
of the tonic. This works well with major 7th, sharp 5 or flat 5, and if you flat the 7th (B), you can use it to color domi-
nant 7th chords.
The tonal center of the piece is C and pretty much uses the one scale in a variety of ways. Eighth notes should
be played long and legato (connected) and evenly.
I was hearing this one as a jazz & funk piece with a Middle Eastern flavor. Try figuring out another groove. It
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 will
compliment your line with a major 7th sharp 5 chord or perhaps a dominant 7th altered chord.

Example:

C7
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EL03950 8
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EL03950 9

'.. .
m. A FUNKY STATE
This piece developed out of something I used to do on Bass Clarinet and later transferred to Tenor Sax. It
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 Here" 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 the
rhythm section typically sets up in a groove of this kind. You will find many of the common pentatonic and blues-type
melodies usually associated with funk-blues. The large interval skips will make this one easier to play on some instru-
ments than on others.

THINGS TO LOOK FOR

1. The scale most used in this piece is a form of pentatonic. It can be used over both dominant 7th and minor
7th chords. .

$. • , • • II
2. A variation of this scale incorporates both major and minor 3rds and has the same uses.
(A possible use)
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m, A FUNI<Y STATE
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EL03950 10
EL03950 11
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EL03950 12
IV. FOURTHRIGHT
This piece is based on intervals of a fourth. The "head" (bars 1-8) is based on an E tonal center and a chord
instrument might play Em9(sus4) or perhaps an Esus chord. Note that the Em9sus chord considers the sus to be an
added fourth, as in Em9(4), and not a true suspension or replacement of the third.

II
Here are a variety of ways to utilize intervals of a fourth in a "swing jazz" setting. The open sounding quality of
fourths makes them useable in many different situations. One common device I used throughout this piece was to use
three or four note groups of fourths a minor 3rd apart.

THINGS TO LOOK FOR

1. Although the accompaniment at letter Al involves moving minor 7th chords, this type
of line could also be used over a pedal or one chord vamp. Try playing the melody
at letter A l over a concert B~ or F. This is one way to go "outside the changes."
2. This is further demonstrated at letter B where the dotted quarter-eighth note hits are in
concert D wnor (fust six bars), yet the melody in measll:res two, four and six are
somewhat dissonant and "outside" of D minor.
3. Lines of fourths can be used on dominant 7th chords and blues to add color.

Example:

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EL03950 13
 TIl, FOURTHRIGHT
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EL03950 14
EL03950 15
V. OVER THE BAR LINE
Over The Bar Line was inspired by the Bach Cello Suites and should be approached the same way musically.
Playing legato and building or receding the intensity of the line will help the performance 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.
A - Bars 1-4 Bars 5-8

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EL03950 16
EL03950 17
VI. ALL THE THINGS YOU COULD PLAY
Here's a few choruses of "blowing" on "All The Things You Are." I attempted to write something I might
improvise, yet would also sound like a new tune. This is my goal when improvising.

THINGS TO LOOK FOR

1. Bar three of letter A has the tritone substitution.

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2. Bar six of letter A uses the half-whole-wholetone scale. This works well with

.
dominant 7 +5 ~9 #9 chords.

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3. Bar one of letter C uses a diminished pattern that I use a lot based on the half-whole
diminished scale.
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4. Bar six of letter C is another tritone substitution.

5. Bars 6-8 of letter D uses a repeating rhythmic figure which makes an interesting focus
for the listener. The same happens in letters E, F, and G. The repeating figure serves as
a unifying agent and adds momentum to the music.

J/) II
6. Bars 5-8 of letter H is a good example of a melody which moves through the changes
horizontally, and doesn't run up and down the changes. I strive to play this way a
great deal of the time.
7. The last 2 bars use the scale from Etude #2. As you can see, it works well over a
major 7th chord in this case.
8. You may notice that in many of my lines, one can find augmented fifths, flat ninths,
sharp ninths, and sharp elevenths, or natural ninths and elevenths. These notes are
quite colorful and add "life" to a melody.
9. The phrases I use come from the '~azz language" and to learn more about this one
must listen to records and live music for the "words."

EL03950 18
 :m:. ALL THE THI NGS YOU COULD PLAY
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EL03950 19
EL03950 20
VII.SLOWLY
One must learn to crawl before he runs. Thus it is essential to have a slow piece in a collection like this. The
goal here is to play this simple melody as legato (smooth and connected) and beautifully as possible. Try to keep the
intensity and forward motion in the line even when playing soft.

All of the great improvisers played ballads in such a way that you knew who it'Was after only a few notes. The
way they connected notes in great part determined their sound and style.

Putting notes together in a slow connected way lets you deal with your "sound" and "style." It is far more diffi-
cult than it looks.

Pay attention to the dynamic changes and experiment with vibrato, changes in timbre, dynamics and tempo.
The tempo can actually bend on this one. Speeding up slightly can add intensity to a line while retarding slightly can
emphasize the end of a phrase.

1ZII. SLOWIL Y
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EL03950 21
 ::

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VID. SYNCOPATED ACCENTS
This piece deals' with setting up a groove and accenting the designated notes (those with an > over them). The
16th notes should be played as accurately as possible and the accented notes can really stand out with the non-accented
notes being considerably softer.
Playing something like this is a good opportunity to work on time and feel. This piece is written in a funk or
fusion style, although it can be approached as a rhythmic exercise not related to groove as well.

THINGS TO LOOK FOR

1. Again, the predominant scale used is pentatonic and is typical of funk and blues playing.

$II I • F·" II
2. Measures 3 and 4 of letter B use the pentatonic with major and minor 3rd relationships.

.,. f· ... +iI:

II
3. This approach makes a rhythmically interesting solo by instigating tension (caused by
syncopation) and release (playing more on the beat).
EL03950 22
 m, SYNCOPATED ACCENTS
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BL03950 23
IX. RHYTHM CHANGES - WHAT'S THE WORD?
Here's a little tune I wrote based on "I Got Rhythm." Rhythm changes are a great vehicle for improvising in
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 found from letter A through letter C and the "blowing" begins at letter D. I attempted to travel
through a variety of improvising styles in the soloing section including Coltrane, Lester Young, Sonny Stitt, Charlie
Parker and Dexter Gordon.
Again, this one is steeped in the jazz "language." To fully play this music with the right inflection, it is essential
to put the language in your ears. Go buy the records of the above mentioned artists (and more - Miles Davis, Sonny
Rollins, etc.) and wear them out!

THINGS TO LOOK FOR

1. The tune (A-C) is in the bop tradition. The bridge uses the #9, #11 of the dominant 7th
chords to create a colorful sound.
2. Measures 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 repeated at the top of each solo.
3. Measure 7 of letter F is a iiIV up a half step (D#-7 G#7/D-7 G7) commonly used in
this style.
4. At letter G, measures 1 - 4 are a little variation on the changes (C7 67 AJ,7 ~7 GJ.7,
etc.) This progression, like the Coltrane changes, serves as an "arc" up over the original
changes.
5. At letter H, measures 1 - 4 and at letter I, 1 - 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 bridge changes using tritone substitutions and a half
step above iiIV. The eighth measure of letter J is a tritone substitution, also.

Jr, RHYTHM CHANGES - W'HAT~ THE \JORD ?

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 II

EL03950 25
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BL03950 26
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EL03950 27
X.ABSTRACT
This piece is one which uses more abstract melodic devices such as large interval jumps. The rhythms are such
that the piece can be played unaccompanied in a funk or even 8th note feel, or in a swing feel.
Sometimes in my soloing I try to think less about the harmony of a tune and more about linear and intervalic
playing. With the right chord player accompaning you this can be very effective.
There is no key or tonal center in this piece. I was basically "free associating" or moving from note to note
while composing the music. I think a lot more is left to be done in groove music with this kind of writing.
Try to pay attention to the dynamics and articulation markings for a more effective performance.

THINGS TO LOOK FOR

1. You might try the following approach on a solo over changes. Try to play as many
''weird'' notes as you can using the rhythms typical in the style.

F7 ~
CJ - - II
This may sound quite dissonant to you in relationship to blues. Dissonance is a
subjective thing, however, and can be used effectively to contrast more tonal or
"inside" playing.

EL03950 28
 Y. ABSTRACT
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EL03950 29
XI. FIVE-FOUR
Here is a piece in 5/4 meter. This one should be played with long eighth notes and connecting notes to form
smooth phrases is essential. The use of the broken chords is inspired by the writing of I.S . Bach.
All of us need to get in the habit 'o f reading and improvising in odd meters. The goal is to make an odd meter
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.

:xI. FIVE - FOUR

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 II

EL03950 31
m. MAKE IT FUNKY AGAIN
This is another funk piece which encompasses bass, melody and changes in a single line tune. The tonic is
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 surprises. This piece demonstrates that you can write an
open improvisatory situation. In this case, C is the key center. I have gone through many different quality chords by
playing off of the C 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 C. I used the 3rd and 19th of C7 to play the accompani-
ment groove.
3. The bar before letter D and letter E, use a broken #11 dominant chord, e.g. D7(#11)

~ I II
This can be used in many settings and should be played and practiced in all keys.

:xII, MAKE IT FUNKY AGAIN

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EL03950 33
 XDI. SWINGIN' - NO CHANGES
This piece is a swing-feel improvisation which doesn't have chord changes. Instead, I use jazz phrases and
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 drums
only (minus piano and bass), you are free to explore all kinds of melodic avenues. It's very good for your time and
melodic sense.

THINGS TO LOOK FOR f

1. The opening xhyUtm ) ~ ) Y r I is played every fourth .
measure in the beginning of the piece and serves as a unifying device.

2. Some sections are busy and full of continuous eighth notes and some sections are
sparse and have rhythms such as
~
l). 1
F f"
, l)
~
I - fI. I ,
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 1 - 2,5 - 6, 9 - 10, and 13 - 14 take a motif and build on it.
4. Letter F is in the area ofB. I used pentatonics to create the sound ofB7sus.
5. Letter 0, measures 5 - 8 use descending major triads moving on whole steps. You can
also move triads in minor thirds or major thirds.

xiII, SWINGIN'· NO CHANGES

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EL03950 34
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EL03950 36
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EL03950 37
XIV. FAST!
Like the title reads, this piece is quick, fairly diatonic and easy to hear for the purpose of dealing with a blazing
tempo. I have found it is best to start with something simple in working on playing fast, and then moving on to things
that are more complex (perhaps that will be a piece in book II).
Practice this slowly at first with a metronome, gradually increasing the tempo once you are comfortable with
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.

)rm rm R ~ ~ Irm rm fFFf rm I·'fffi rm ff1 etc.

This is much less cumbersome than tapping on every quarter note. The idea is to have groups of eight beats
rather than groups of single beats.

BLAZE ON!

Xlv FAST!
Sb !HSf~UMENrS

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EL03950 39
~
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 C Instruments (EL03949): Flute , Guitar. Keyboards
B, Instruments (EL03950): Tenor Sax, Soprano Sax, Clarinet
B, Trumpet (EL03951)
E, Instruments (EL03952 ): Alto Sax, Baritone Sax
Bass Clef Instruments (E L03953) Trombone , Electric Bass ,
String Bass , Tuba.

ISBN 10 07692·3357·0
ISBN 13 97B 07692-3357·'

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9 7807 69 23 3 5 74
ISBN 0·7692·3357·0