Table Of ContentHAL 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
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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;
