Table Of Content

HAL LEONARD KEYBOARD STYLE SERIES INTRODUCTION level. this bouh will Bel you sound more cuthenti in our scloedh faz c¥L.ngs, After resoweing se esse es and seales, ell dig ints the voietag techniques and rhythmic pratense ae vite forhe sone x77 past. We" Hl Fags on “emp” assis gr swell playing msioies and si, his wil ep you cree ya oss plane pos on variety a saoth ze uns ad pogo Th the process we ILalso see how smith ary syles evolved hy worn “azz melodies an hamouies ‘ith pope shyt un insteumentation, We'll spacight the imperanc stead jor? pianste ana keyboardist aad Isain bow to incerpoiae tir vocabuliy ings our o3en rag 5% Thun with the rngehny seem cm these ca fa runes im vg es emo j877 syle age rele in tha “Style Fie" shaper athe endothe Rook, asing Le play-along, CTD—this ia erect way develop youn ats copy within these denen pvr, Gevsd lack with sour senna jar pian! Mark Harrison About the CD (i the saxionpany ny CD. yeu i demenstrat ions of wiost the music examples in the book, The sole piano tucks feature te Tell aad put on the Jaf chunuel, and the right band past an the sight chant rar ‘vy “heals separ” pres, ‘The TUL: ban eke feature the ehyshm socom mp Re cf gm! el the sxamples ters Prime om the right cmc oos tht ou an py aang wats hand. le, the Chaplen 5 ie mekies ad sls each hase am ese track withthe heb! pas he right ckavael, ud the Belle oval part aed heath set ail an the lef chanel, i yu ee to patie just tbe Hight haat past along ith the bang, This is all designed to give you maxima élxibiity wien practieing” Please see the Incisieual ehaptess for spoctieinformarion na #2 C1 tracks ane: how fuse £3 About the Auther saducusenal author show bul are used by Live, Americas lect, (Celebrit Profiles, al any ofbec shows wd commnevlals. Ava wicking hey oandistin de Los Angeles vcr, Mark portovms weglarly wlth the cop Eaht Stee!y Dan tribate bens! Doster Wa, a5 sol as the criti cally scold Mark Harrison Qomtel. He bs hat same he sig ul tap musctans such 4 hn Blo (Broce Hay Rad and Tiny Tip; Yellowjackets), ad is eurenuly oerticy an REDIps project ‘wih the Grammy-winning songstiter Row Dabs. Bo teet informsion oa Mark's musical ativicies und edueatinsprostcrs, please esi wi gieeamarsiseoe CONTENTS 1) What Is Smooth Jazz? 2 > Scales and Chords Majer Scales and Modes, Pentatonic and Blues Seales Natural are: Melodic Minor Seales Trincs Sevumh :howt-Vart} Chords and stterations Ninuh ¢Five-Part} Chol woe 8 toratioms 3 Smooth Jazz Keyboard Harmony and Voicings Voicing Concer Maso Thad hversions Minor ‘Test Inversions “vid-Cvir-Root” Chord Votsings Major Mor Seventh Chord tnvesions “ron Pat Over Rove” Chord Voici Sevin-Thrs" Fatended Chord Voicings ‘one Foun? Shapes anal Chum Vaicings 4 Smooth Jazz Progressions and Comping Rhythmic Concepes Sleaight Piplths Crowes #1 — Style nf Stevie Wonderful” Seraight Fighehs Chewive #2 — Seyle nf'"She Tikes Watch” Swing Eighths Groove #1 Sle of "| Meat What | ‘insight Sixtconths Groove #1 Soyle oF "Chopsticks" Straighl Sixteentts Graave #3 ~ Siyle w? "Baby Come to Me™ Suaight Sixteen, Ghuove 84 — Siyle nf "Ronn Theat Sight Sistecctas Groove i (balled) ~ Style af “hut :0 Re Love Swing Sisweonths Groove #] Style of “Get Je On" Swing Sixteenths Grovve #2 Style af "Reioyee" ‘Swing Shxtcemths Geoove #3 - Style of “PCP rh Chard Fnvursions Said” 5 Smooth Jazz Melodies and Soloing "*Yarget Note” and “Seale Source” Coneep's Melodies Using Major and Minor Seales Melodies Usire Minor Peuratonie and Blues Seales Sailing seth Blues sna! Peniatecte Seales Suilsing sth Dorian ard Mixelyian Modes Soloing w.eh Allered Seales Over Deninun! Chorbs Cernining All Solving Vechriques 6 style File 1, Atv nse Your Love 58S tinue Me 2 Om rhe Slopes G1 6. Gitte Comore 2 Siete Dron 641 Sigh 4, Jacket and Tie 6 Page CMacameee WHAT IS SMOOTH JAZZ? aro jare i un Annsvicun wuss otyle hich cmerget in the ISM, anc “s descended from Le Tis of jue and rock sytes tho ist cenred in v3e 1960s Ls most inyauanental ste, in ‘which pine and Keytar pay 4 cera, cle, fn onde 0 ndarstand the characterises of sa {ner an its remionship wo other java styles, we nee trae some oF te evolutionary aeps thal zz has Taket From the 19605 up oi prea Jazz-Rock Fusion Iv the 15806, rr musicnans bezan combina the nese sock ubychent and instrumentation with ja harmony snd inipeovisatis ths give bith tthe torm “usin.” Miles Davis is widely regarded as the Forennoat innovator in is ues at his sesinal fasion uloum Ace Riv all ete cassie tt Is sl sapere earns Miles Dcwls raeups wen on 5. srealing Wher we might call rhe Zr wave of Fusion auits Dt rete with an sing tej serk a, May ta lan since je al Cason mrp inthe 197M, Notable pianists kevbaaedsts anon this it sn ince 1 Herbie Haren, stefan his os Sext2¢ ar lo ie styles trtbels ted cus EoMKARS., ing Mie Das, nel wh has since played most + Chick Coven, wav sm the game Som: Rrgrlinn ja to rook wh hrs hand Retuen To Forever. ana abet sited elTordesaly botween cnorgoticya-funk (with his Blebric Band se mess nslitiona sing and Rehop wer his Akousile Bund + Joe'Aamina’, whose stevie plano was a key component of Miles’s sod, Tapsther wrk saxenhianst “Wayne Shorter, he forma the Ind Weat nasi othe 1970s, Zawsinul is S11 going stag into rhe illenn’u sith the Zainl Syke Rego, who events stime othe mos! inpustaztJision (Other fmenas Miles Bass en incl th uence bead Liferine evita te geet Keyhrardst A Pusqus a gatanst Joho MeLaughlin, who Jacnaal ths high volume Mahesishia Orchestra, which crowed aver very succcssally 70 cock audlionees uinmer ony Wilanns whe formed dhe Fn Tai i Contemporary Jazz In the 19k, the soon sve of e.etre-orients jae geoape Degas fo emerge, Ese cies wens elas 1 Uys nen “Canepa jaa” category. As we Will $e, ts categery Pon ta compra wanes fb sgles Snchiding smneeh jezry. rises ths second wove ile «hey ube OF RE ip the Impoovisitions aud ware arguaa’y eos ehyhunicalyIeewhesling a cei fsl wase predeeessans instead favor move aecsasile arsves, Nota rit i this second wa inclods + Yellonaoksns, including mniakeyhownsis! Rus Peraute, A uniguely erearivs and thoughrtil group, nein uste shi sp esp fe raion js, au Te, while Incozpovating fur, blues, gor cal word msi een i aurea cuing-2dpe contemporny 77 + Spyro Gyr inchudng pian Reybuardit Ton Sehumaa, This popalar group 15 now For ng atin flyin bois Sze bartwony ed mpcosisaions, + Susopbiints David Sanaa anc Graves Wasbingten J, tho pitom 70 the RéeH-Alavored improcisation ‘cyte mie stylings associated ith many coneerapeary jr ass rire the rideJ9R0s ia ke 180s. contempaciy jee stated to haconne a each exer corporate ‘ornare subestyle, Trtately the labels axe not ery presse, and thers may he some overlay between sub-styes to some exten, "These various susie ean Pe user as elk Jazz-Funk or “Crossover” Jazz hs has nn ompliss om RSH hunk ryt, ann the elses and itprovisadon are inion Ry he luce une REE, Ninted astns in this syle are Datid Sanborn, Grover Wachinghon Tr, and Richaré Eliot, Pop-Jazz or “Jazzy Pop” ‘This ls an eraphiass on accessible ard cacumcreial mlacies, wih srapler harman anu dun, The ray be litle: ay improvisation ts yadtick sed hy some. erties whan desing shelher a style is "jaz2” or hot, Paes the: ost rms ac in th cali is te sascphonint Keni G Lwlo, When peev. cy rw as Kenny Conic, playa bigh-wetane “sion with he JY Locbe: ban Smooth Jazz ‘This ile hasan ervphasis on mellow rhythm # gmoves md polished preuution. Sane jac ant will lice use some Simited feomapate! to miinssream jaa fasion) ein aleraion nd inapewvstion, within a Frghr Rect ar funk trumewerk. The me oes ane Lypically- sme andor cepeiive. using bhnes or pentane sales, Ro sented elecsie sounds sre use. will an scidance of ars estes. Nott artist in this style incl keyboardist. Joe Same (formerly af the Crasrs) rien Culbomscin, Cnegy Karukss, Te Lanter Chis liter pea’, David Benoic aad Bob James irom the band Furl. ad sanophusists Dave Kuz si Raney Jara New Age Jazz this hac am emphasis on calming: and ssthing souls, with gently Mowing Hsthes athe than ane rouves. TLCanetions oh Hsteuing musie and backgmond misie Any irpprosnatior used te nomial of Tower inexsity and applied witha gradually changing harmonion Sounds asa cam ether be wcrasic wy highly paces se clei, Those an Hille ars blues aml RAD influences, Mose nese ge masic isin fic actside ef th roulm of jury he sore aris (nobly Aeon AIcheny and Keyboardist Kolko Vara) g blends of ew aye and jae elameats, Abo. the seoincl new aye plant Cicorge: Winston deceoped his syle by distilling some of Keith Jae jar? improvsatinns isa mush more bavi Tora, tevon dhigh an gmast may presacral full ints euegory mentioned abe, does aoc maa that the arias eine pangs ithe sane ua tis Bat Mithony an] pion David Benoit have pewcuved iunes tha oovld be called New Aga Juz. even texagh this caeyory ‘would weainly ut apply to Caer work a8 & whale, Keyboo ist Jeff Lovher's mare rece eulpul would be ‘sonsidesed smooth jazz. ven theugh fs clk work wus more high-onkzy er Cinivt, Radio stetions bing themgelees 16 “sean jar” fhe. KW in Los Angeles! may actly Ive playliss envompassing any or all of theubsive styles, len aig se RELBA pop othe mux as Kel, cory. For esac, jzeivous such a Changer 2 SCALES and CHORDS Major scales and modes: Tira, wl lak athe mar se which isthe fnbamental hans of hava in wns coateyanany sie styl, Trocornmera that you think thi sale i tees the intervals it conlains—w0l8 sep, lice sep all slap. whcle step. wlvke sep. wlole step, all tc 96 Us most closely paralels bee “Fe to the sca. Here isthe C major sale, showving chose inerval: Commer yy woo ‘This major acle pallern eux be apolied wo any root ate, Here for your reference areal of the mor scales Aer C majo the next seven scales cont lat... F fon, Ths nest so¥en Seales com sharps, ic, G major has ome sharp 1D mor as se sams sal so hae Flat HP major has ne las ad major major 1b major F- meio ab majo £ foe 1 4, ganbe 2 079 Tbe OF sie bar Ganer ¢ peverbeso 2% = foe @ bare abe bors we bor 4 maor Lm 7 He major Hamajne hamjor ia qa re te jos po oe? Indhis book, well work fof ( majo sith rus samp in iferent aoe ad wu hey. iE the note Cis hein pi an the wie or ete base” a! or expla tans il i as nes msc ae within the © mar seule fexcepl Fin any sharped ov Fated aowes oscoaring 1 ¢he music}. Simla. a tne vvll be "ie the hey of 8 minor” the note A ts heat asthe come “hur base, vvitin an A minor scale ragain excep Vo en lope Gael oles Dae i thi rm abou min sean, Shey : you ane in. Buch hey signature vhs Joy botb a major and 3 mina key, wie are fue aacthe. The fest Key siguatare shown belo ome vars aad Alas wrk ee ior ant A minor, Ya fied out which thinur key shuren he sume hey signal teas ou wf lat says atthe aeginniag of eo muss tha ts saa i he antes used ate elapse" Joa you krins which hey ‘seashore celative i hath the keys of C sama cr oy, ean ‘cus Up ie he ih dogmas of the semresprnaing major wale. the Hist econ. the Stk: deeece of aC rigor scale is tae ris A. x the Keys of C ursr Bind A .201 ae eeiatve (0 one sews hey siguatur, Mae er oe ae le fr dn ey ios aio Fag Pane ma Sahnine Gina mane an ere a + Ue ng oxi © Gman and 1? rainor and Diner and A¥ caine and E minor tp 7 _ Am smaer A mar Bn Inigliiesr inte nor ant ee ov hh eat, a A mode ce cause] vale is ezeaed when wo aoe 9 major ale on ance ele dy ple ol thas the Borin mace ths follwing example, 3-C major scales spliced bv crea a D Doria au eon. Ay ve yous eomaane the tre scales above. yeu" ee that the-motes are the sme: they jun oi Cand lirone pons C maj begins a! onds om while D Dorian ayia enc hférone mpl tani foo, an tnetone a ferent pater whe sad al rest resuing 0 xalieent averall sl a whe the ear sales stared 93 the 20d sh sd share he and rir is ae Deas anal B minor i _ = at nD, Ee’ wae Tas 3 Ps Hom ons nets te Aan clicsnative way to derive Cae Dorian made is 9 bent 1 fmm us ess roo, fllossiow the step same 20868 88 9 patie shensn in the previous sail, When seen this wa, che Dovign mote cousins Ivor ele, tk eted rd seth (1 I “The Dacian mode Fas 9 “renee” vu, ef ci inc renwal Detmse dhe cone nl YL egree fn Uhis cate from 140 Fund widely asd as ase sauce Rar ainer chant, molec. am slum it sons care syle, You soul nuke ca goal 0 leat all of che Dowian mews. as shown i te Following ‘ssaniple, Gach ofthese stat an the 2d segree af» presiounlyshaywi ngyer stale vin 6 Devinn © bona © Dein Wh bon bag Borin 4 ee — vers Buia Pram Dian —. 7 eu peo ar i, pgrerebarrbrltty o oa obra Lepsetn Bdeia wien t: pole ee te ae © Dorian GI Dorian bf Dacsan Smother seul dein sna jze ses isthe Moly lisplaced 6 sac onthe Sth legr, Blixolysian moc: poFo esos Fo aad « rvs, routed whan the majen scale fallowray eurnple, a wnajorscale is Uplaced mm orsite = G Misolydna [ae ae. ‘You caw also think ofthe Minslyiea uate a8 9 mnie sesle with ¢ ated ih (1-2-55-8-6.5), The Misclyian an iy th Lusi scale sows for & dominant seventh eho (more ahou. there vey! an is thererave sory wee when crear mele am ik ever dorninaal barnes Pentatonic and blues scales ‘The major pentatonic sca falso koe as di poataranis soale is he “jer. ell fork sd ewe age yes, ean ae derived Frm ear cle By secwviag the th and ve scl dey used ison “Th segrees: ‘ote Som hott tn tes sce noe contin ths filing interval: ute step. whole sey, caine mn for the unique open sons this eae reales, You shoold mak it 4 gral ‘o fea the pentatonic sel in all hey, Derive them by seaiosng the dth and Ft degeces oF the major seal 2rd, ste step nor I Tis minor peutatonic scale (aKa. blues poston c4n he deriv from the major pentatonic wale, For example, xf we start the jor pentane see on the note A Gawhich is Ube relive min oC), re real un A rine entauonie sul, us Fallen: A. minor poner ns wow 2s w ‘Note that om apo tn top, this see now comtsins rs fllawing intervals: minor ed, whole-ste, ‘whlestep. rmur2n, whske-step, nm fy, the bles. sete san hs dered yak one no ate FAS, 19 the minor pentatonic sede, Por tesainple, if we take the A rune pele seule and ald De “conueoting tone” D® aecween the notes D> and E. we ecote an A bles scale, as falls: The loss xcals a signature sound in sre a7? ottes and ss, su soul ek itl fs an ak the sharp th tor Mal Ste any s pofer te Chak of if co each, listening Fr the blucsy quay ofthe scale a this act in paicpl. Jean it all kos Practice all swelve muir pentane seal el 0 Natural and melodic minor scales INowt we'll lake aTuok ot 10 of he minor seules Cia se prominent m smooik Face. LF we stay lh rine key without ving my extra aevilentals¢shagps oF Tots) inthe musi. we ave sing 2 nstucal nner scale, Again, 1 is goed us Uninh of tis seal in bonus if Ue inert contains. Heve is ths C atural muna sale stunning it interes nana nor a ‘You san alse think ot natural minor us a major soale with (hed Se. 6th. sad Th (1 2-rb SH 2 [Nore tha chi seule sass equivitent ta the sixth made of a wnsior sale Theoven se che Aculian nade Far esample,ifwe were lo play an FP major seule saring and ending on the fh degree. he C Asotin rise woul Te steal he natural miner see isthe most commonly ued source for meoshes wad chscds in minor key applic jot omy im ste jar bul isin mainstoam pup, Kick, amd REB styles, Newt we wil, look al hs flteree tives in jar tse, Here lives, anelocic minor seale, whic’ x offen ose when rpms « the € mchatic minor scale again showing the ine ier Crmeloie miner ‘You car alse tink of the richnic miu reale ag a major Seale wil a ated BU 2 °F 5-6-2. Classica! or traditional they fen disiasuisbes betsoon different ascending and descensing forms of thie seae; however, this distinction is nat use for conteopocary applications. tn Chapter S we will $02 hse those minor seus x2 used ign ereating uelaes ae solo in smth jz tye Triads “There ae four mom type ef iad (3 past chotst in soma asa shed. 7 te tllewing exainple shoves all those rel, ui rom th oe © e cs Neve tat these tends ee Roem by hui tervals aoe the es nok: Major tra: Mayor Sand perfect StL 3 Minor triad ‘Mrmr read penfeut Sta #4 $3 Augrnented ica “Movjor An snd augameatad Sch" 3 Dituininhed wie Minor eu and diminished 3th 1 4-23;