"..•.'•.illlli #2 Domp with Bass Liiine ... M aterlale protetto da copyright .Ha... ....... ".".." • . 10 1:2 1111..'.•...30 ~..".•'.1...II".!..".'.• ..'•.." '"....nd SalOl "..!I. I ~. II 11.5: Stanrdalrd #3 Gom[pwith Bass Liiin.'...'" ••••• ...". ~. 3:1 Eblde.·I.• '.•..• 29 Elude ."...••..'. jl.er .!...".'. Ljine .:]0.. II it Iii II .'...I..•.•..1....•..hry B ... 1.1.• '..'•. " .••." '...ti 'II 1I1...'. .. •..•..... Etude 3: The Blues Baste 'C~o'mIIP J ~l.l Elude.....•.•'.".... . 'I~ I ~III ' 28 .". '..1....'"".. '. ".." .... II .'...·~IIi..'. .i:..••• .11.II!II111.. I . ..'.'..alrd #3 IRtght·.'.•'..".".1... ....•• . ...••.....•..".' ..•. " '.. .....!'! ..'1 . ~!Ii ..• ...1.1."'1" ...•." ..t.. •• I·.. .• '..1.. ...' •• '...11 . &:: The Blues como Chords ~l.'...'•..'...•...'.1.' •• .. .e ....'..· ..!I.ii...••• .' . .t.'•... . " ..• ..Ii.•• .'.•.!. II"" I ~.. 0 iE-tud8.. .1..'.. '..'..' ••. I ~·II'~'II'~·I .2ht· Hal1ld SOil0. ".u n •• ..I''''·I... 11: Stalrl. .... Of III _ " ' '...4: Standard [Elude] 1... u • .3: Stalrilld.'. ii..1. ••• .•...'. ill iii ....• ..I.!Ii •...!I... . .....iograp...-IHand Solo .. 4:' The Blues R:i..110.11 .'.•..•.. "..." 1 ~ 8..•• .' •• '..... ••• "••• "•• ' "'" u'" u...•• .t.• '.'•.•• .. '...• .. C:holfdVo lo irillg G lossary '" .. •• '""'"'" n •• "•• .' •• . .•..•..' . .!I.t..'.li.•. .••• "••• "••• .'.'.1. " .'. . 8~: [Rhythm Changes IEDde tine <C ••••••• .'.. . •.•.•....t.111.'." ".•"..'... .'..• '.• .'.11 1I.'*'9':1'\1 ..'•. Etada. .'..'..'...I..'. IE_de. ... •• . . •• 14 20 23 Right.. III ..18: Starndanj #3 Gom[p Chords Eludlll. " I..."' "' " " . " " " [E-bJdlll 1." ' u.'... •• .. •• 8 IE-tuda........1... 4:2..t. •• .'•...•...' •• '.......'.' ' ' 11..... ".!'! . 18: ...• ..•'. ".. .•. ..... ' ' ' ..• .' •• '.~IIIi. '.!!! 'II II. ~ ~.. ....." '""'. •• ..[1 . " ....•'...."". •• .. ••• '.I:2: Standard Elude. 20: lB:aJ!llad Etude 22: u'""'"'" u'" u'" u'""'"'" u'""'u u..•'.•• .... . II ~'. ....••....'."...... . .'.'..n '....t.'....0' .'....•.•'.!.ntr'od'ucti 'n.'.'II'.jli I .'.•....1. 38..'. ..t......!! 'II I' ~... .gnt·JHanld SOil .. Latin Comp with Bass..Illll'lj..•......~ I "~ ."".I'! .....'. "•. .. .'•.'!I..... ". !I'''..d. •• .'1i ~.'ii.' •• '11..•. ...""'.•• ... •• "... '.. .!Ii'. I·... '.. ..I'.•. ••• '-m.. 6 ....!I..•.•. I ...1i •. .I. '..t.'. " "...olrd s !I. I 'If!! I 'If!! I ~..... .••..•. II...t.11 ...'... •• '" U. ... I'~·I .• ..7: Stalnd.III!I. ""19' I in ....0' .•'.'.'. II Ill....•'.'.t..'..'''.. ". . .'.•..II II' ' 27' #2 lR:ieht·Hand Solo .9: Another Bi liles Com p Chords. 'II 11.'1 .. !Ill •• !I. .• ...•..•• . .. ~ Etude 1: IBe'gln with Thriiis.'..•. ......".1..'...'......liI~. ."'".. .II I·~I •• . ....•• II'.'.'. ". 21: Latmn Comp Chords.. 1. 32 S Elude.. ...arnd o 10...'.' o B relr_ At..'.1.81rd #1 R:i.. " .II! II IIl.... "•.111' [Etude 6:: IRhythm Changes cemp with Bass IEtudlll.'. ~.....••• ."".'"........"... 34 .•.'."11 ....' . '''.'•....1.Ill! ' ' " ' '..II!I.'.'. .. . •• '. ~l~ II it..•.4 . ..•..ll .."••• "••• .•• ...:.. .. •• ".1..'" '".'..' n.• .'I'! ... "~'II'~·II'~ .'.'. 9:: Standard] #1 Comp wiiith Bass Line" . '.".. ••• .'.I·"'·...!t! II II.. .'..Another :81LIles Rj! _i'nIt-HI. .."..••."..• ..'. u'" 316 40 Etude..".'...0 •• .•..•• .'•.'...11. .o mil Ch..•.. .'.Ii...'.• '. ...01D M ~il~tz..•'.' Etude 2= cAdd More Color '.. .•..3 .[1.. •• "....'... ...•.t.'. .I!.'..•. ..' •• .'I 11'. 24L 25 26 ..11•. .•.~"....21lrd #2 'C......II..'.· •• ".. ..•'..1111 ..I'.•.. !I'.."... .llllll.•• .'•. I•• .'.'..1'! 1·....III!I. ....t..•.'.•.t.•• .0: Starn derd #1 Gomp Chord s IE tude... •• .1... ..

. has r.td a d!iiverse career a's a free-lance muslctan in NYC.. ln :200. In addi~ion. L'earn to' p!lay~he etudes 'Wi~ih.ass.spiiiemlielre<llifil New Yo~k Cilty by tine.e has tOUll'ed with Buddy Rioh.m:elriC8n Sa~Olphol1le Qual'~et alM[ the.obeannilJl8111ly.ackets.. [Luk:e's Cl1ambet [EiilSoembl'e illil 1992. foursi6!X. Hiis: OWn big band has OO€-nrnomirna~.g. parttioulla·rly ~ifyolJ !play another instrument.o 'help y. with nn@benet Bob touss four Bob mas plJllb[lilsh:edffolllrjau 'etude :boolks (Bellwin Jazz).te· fe@n. there are countless v<.tifits wiith ttl:e styile of each etude {swiirng4riipl'et inflection.:wiinning Yeiliovij.€d for four Grammy i!. SUr. 3. }I. 3 .and months out . He has reeereec wiith peop~le liike Steve W~n.t. bass 'clarrirnetist.ecorcled . Bolb [Mlinru:er lis a houselholid name.nmartion of chord pro.ets~[r1di Ibig educetor..c{lflT'llpose.dseveral p'ieoe:s mr orchestra.!rii. 2. (:j1. 200 b~~.w~Qdi.!sttral'e:liiOW piall'"l!s.'of these chord \ilo·i~cilngs.f [Best ILarg~ Jau Ensemble reCOl'dilrl.. piiail1i!sts Ili[ke Redl Ga~land.iie·Pa[lmieri. Latiil1l even eiigntl1~no. tlI·€lroi€ Hancocik. [)... becsuse a .j'\mphony OnJine'S1J'B1 at tlhe Kennedy Ce~Ueir in Wash iil1lgtron.. TranspoDN these chmds to' all keys. He's perfo:rm€d with th€' New 'lr'or~ Phiillharmoniic (llndl tihe .34oyealr esrser.. this a complete method for By leamiing to pllal!(jazz piano . compol5!e:r. [H.ou get up and mnniiln.psat universities alii over ttnegjl. lit is merely a tooltt. am. [He also performs 20 works!ho. member of the ¥elllC)wj~cj.!l!(\i'ards gl!ildiWQn ·a G'!i'"9Wllfl!'l1.. Howeverr.ils to iil[ll!.asaxophone method book. Mel J Lewis. rrnrali1:y f whlich are' perfoiiimed o all[1over th@ worl~at)y bo.li.1 wilth. lie!8der '~f a ~3J]ram!1!1iy"winr!iili1g bamld. At the end of the: 00014:you wli III find! 8.eslaylor.eep in mlind.arrang'er.allwa¥S.f USC iln Los Ang'eles.. S~I1I1:eof the tater etudes iinoo:rporate: both the secene amd third category. His "[Rhytthm of theAme~iCla$" pi·ece for :sa. j!·Itr:Jmageto CO~lnt Basie on f~f the· DM[P labet IBOJb has recorded 26 solo CDs wi1t!h boUn biig baiild and smalill jazz ensembles.o·l·oiingpiarnilst Yl~I[1 typiicall¥ oomo:ine silil~le.and Edd i'e Palmieml (to name only a fuw) lis an illlltegml[ piece of' this process.!lsiteadYl!1Jroove..irlio'tce·melodiic Ilines wiUn two-handed ch:o:rdlall monen.opho!1le quartets. Pas~oirius..BOB MINIZER: IBIOGIRAPHY In Une Jazz. Bob has w~iliteno:v~r 200 big balndl arnreli)ge:me:nl. efMctively: 1.barJ:darran~.e:me:n1ts {[Be·l.$ $Ipalt"lniiiilg a .goodi time alld i. (!ompilng chords wijttli tite lieft. and IPrO balilds..i:c)" arnd has . 'Compirng chords wUh the Irighrt Ihand[ and plla.offtli'ls book. Bill Evans. Nartionall S. ()ompilng chords wiith botn hands . no means is. H[~s"Colilcelrttino for lenOir Sa~opl1oille" sUingsand Wlindls" w'E}. 3.Jones. lo use thlis book.merican Ball:et ·TheatJre. Hie lsan 1&ye. sr. That ils.12 ODs..of tJhe·year wiUlthe 'Jackets .nothe·r limportafil1t focus .s. .. lhad Jornes.. thetoiP rete of eacih chord ilna given [progression wi[111 g~:neirg:l:ly ereete a strong sense of fl!'liellodlic motlen. Ja~o. known as 'voicing$. handan. uIsua[lliy a5soc~ilated withl being a sax.d pll~ying a melody withttt'ne riigl'llt.gt'e:ssio!'lls.i..8 so~otr:alll:scirilPt!ion book (Bellwin Jazz).(_.lHartetand orohestra (or oonoert band} was plfemliered iin 2001 by tile A.Areit!ha fralnk]ilrnand Quee:n.. I liistenedl and sUI[1dor The 22 et!udes IiJtiliizethree [bgisiccat·egQriie's: 1. Kbndio:r Mus. then in temoo.atiom. I/!mrld.hand..ar member of the Glrammyaward.th SlLid~i'it. nto Puente· aiM Edd.I::. Bob has bsencn tile faculty of ths Man!hart~an School of Music and! recelntl~jo~nedll!:he faculty a. Chordl Voiciing 'Gloss.onis.ary reference se:ctiion with a variety of more advanoed chord vl:li:cilngs that II have: Wlrittelil througJhout tlhieboolk. 2.g.~ing a bass liinewiitl1l tJhe lett hand. MJcCoy Tyner .Oph.lK.vefor ameli tlha. ~ee:p in ml ndl tihlat liS't'ening toworld-cl. Hialfl[k. Learn the noH:l:s sllawly at first. Bob has Ih.wilnJazz.ts employ a me:lodic quality to the f().

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~'and$ [in:~eract..lIn'1. tnen you're reallll~ $a[yil'llg somethii:ng.chords 'with 'the Ileft handandi pla~lng 81 melodr with the. Tl1lere is a IrE:N91 con[ver:satio~lal 'Qiuaillityto the reillatl'~mshiiip between han1iC~s.response fashion.enthe instrllJllrllleirilltalis'il:is.. it iis easier to accomp:8111lYaim the piiano" WI1. 'This· iis why it [iis so eruelal that.e p[llaoE)<'::~ where both ha[~dI$joiint'og\e~herto playa M~handed voiiciing" YO'IU[ wi IIItiind corn ~m:Mllt7 SUI$.16". the sOlund and s:~ape (. over·p~ aying. as in thle omer ebJides.kegpod muslicalll sense in thelr imprGviiisati. therealf.g fOirward.. constructl Fig your phrases ln a way t~at breames and Ileaves roolll1for input 'from thie Pii'~UliISt.lif'the pieoe.ak lolA. When is horn Ipllayer constructs p!hraises t~ail: ma. way 'that ii[s not iin COimltext.ing~1a sens. With Ulli:s famiilliarity comes U'1ieabillily to tru'liy concerse witl'ill thie p:ilanis1: ina c:al ~·. rYe' fOUlnd!that. a horn play€'r" yOUI are familliar wi~h tns I. recilily ~ejel if tile soilloiist is IP~hra6.an(j. yU!U nli}Vl9to wl)[rlkmuch hardier at the pianc to keep 'the' rnesle mo~in.alB. and see' how-the two.S:ss ot the rela.tiionSi~liID 'betNeeml ph.anguag\e jJtf piiiana. rilgbt hand) For Eftlde i8'.l'iIas il1lcrE!'~N3edl rrnyawarem'1i.O soloist 'toucan.~helre' is . II use Bmi1/E7).epiiano. In measure .. or p!llayilng iim8. chords thm!Ulgihourittn[is etude. Clne-.ible and i way from the pia[n!o cihalr.e allways complli ments jhe other •.Elluid.a tri~Olie61~b8titutiion (instead of Fmi7 /B~ 7.camping.ons. acoompanying instrumentall students on tl1l. Wllmsn lth~$ same k:iJndof empathy can happen between an lnstrumerrtal solotst and the Ipiialn~st. 18: Anolher Blues IRight~Hand Selia (Complng . Oin'n. M aterlale protetto da copyright .

: IBal:llladi 1 (C'Qmbln:e: Camping ohordswiththe~lgIiIlt hand and plBJlng a [bap line Wilththe ild h'and.udle 2D = B. . if pOls:s:iibll. 0. tne next YO!Uwi[I~1f1nd instance's of illilner rncnon. .Ulad r I " oj" .. I . . I~ II"'~ r . .e.es a sense ..~ring these movillilg l[i11il. . . .a~ing .es ut 8. . - I I pi: . r . I " II" . .e a secondary melod¥ ts pla:yoedand. . What .I .all. Tn. - . . pn)vide avarie'ty of textures.'" o IE't.6 bea!~tifullsen$!e of phrasling.slow tempo's.eao1h phrase' ":silng. . . . m(l~iing gJra(:!ef'~li[iyfrom . .edto dio wWI'I1 tl'l1i$piiece is to. II ill' - II lilt' . ~ 4- 36 M aterlale protetto da copyright . ~f :~l '"r 'I. Try tothiink hOIMizlJ:~t8!l[lY.f m~kjing . --"J I .g~to 'Tashlian where thlere is a smooth cennectien belweell'n n:ot. r J I ..erestJing way.. .1' n 1 . J ..Itulde 2 0.~ 'tn.of suspenstonfor 'ff:ourmeasures. iit is iim'perativettha.t you pllay ina beaililUfullanci iint.. .es and . [lin a slOW tempo' liiike this. I 'r . I . .. . I~:' '~ II -- -. but 'th~5 time ln thi8 left hfmcl. .I . 'Wher. .. . I sometimes U~lil~k" . ~" -Ii ~Jl_1 .~I. .- .ere lils no pI ace 'to' Ihide wheliil' pl.one cniOfd to.. lnthe :lOt hi measure I[ use a G pedallwiiiCh an Qstiinalttl' chalrO' pregresslon that c:rem. . a[11 motes should be pl. -fir J I . . 'I[ngener. b o bit. The key to making 'tthiis etude effec1Jiive is 6 to focus on piayillilg lin a Ile.ayed h::a1mig. from ph raise to phrase.. Ihe 'ostil~at'o rhytru:n oon~inue$ ln measulres14=:Jl1. and eompll!1g eihord$ Wil1hl both h~n'!ds:JI lhiis piece sh()uld be pllayed at a :SIIOW tempo.

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