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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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