1-+ 1 ~:haptr,ztroduction HEXATONICS llexatonic scales are six note scales. One way to create a hexatonic scale is to combine the notes of two. I ordered Jerry Bergonzi’s Hexatonics book, the seventh volume in his Inside Improvisation series. I had looked through some of his previous. Jerry Bergonzi: INSIDE IMPROVISATION SERIES VOLUME 7: HEXATONICS, Paperback Book & CD Package, All Instruments, and thousands more titles.
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F;IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
Jerry Bergonzi Vol 7 – Hexatonics.pdf
U 1’1 ttl “-” “This book will focus on the ones that are practical for the improviser and composer. A hexatonic scale is simply a scale of six notes, though these six notes are usually derived from two different mutually exclusive triads. Rather than practice all of them, select a few, and play them in all keys in order to gain flexibility with these hexatonics.
Have each hexatonic be 1 bar, 2 bars or 4 bars each. B- jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting note”. This book is a great way to learn a to use a modern and usually confusing harmonic device for improvising over chord changes. To write it down or to give it a name, we will call it D triad over C triad.
On a minor 7th chord, the upper triad sounds the 9,: Like a blues scale, in the wrong hands this could be devastating! It should be jerdy, from herry point on, that Die means: Serious Resources for Serious Players View my complete profile. What follows is a list of different melodies derived from this hexatonic scale. By limiting note selection to six tones each triad consisting of threea more concise sonority is created.
Jerry Bergonzi Vol 7 – Hexatonics. On a dominant chord, the two triads include the: I still think the book is useful and pretty fun to practice with, though honestly I haven’t used it if a few months. This can be very helpful in modal settings where there are no diatonic, cycle-forth root movements or resolutions and where each chord change may last a long time for instance, four, eight, or sixteen measures “.
D7l19 B ‘ D G7 Ct. Many modern piano players use hexatonic voicings by stacking the triads to hexatonivs aparticular harmony.
Jerry Bergonzi Vol 7 –
Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book. J Due to the nature of this book and to economize space, the word triad will be omitted after the pitch name.
Note that sometimes the hexatonic includes an avoid note.
On some of these chords we are allowing much leeway. There are numerous hexatonic scales. In this instance, it is the C that is the unusual note that creates the rub.
This book presents apractical method for the construction of hexatonic scales that are useful for both the improviser and composer. When the B triad is voiced over the C triad, major 7th intervals are sounded.
The motion defines the context. Here are some great links to free sax solo transcriptions- Sax solos link Lucas Pickford’s transcriptions Charles McNeal’s tra We improvise “in” the sound of the voicing and using hexatonic voicings and lines can lend a very contemporary sound.
D jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. It fits well over diminished chords or dominant chords that are being played with diminished scales. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet. D IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
The “stand alone” sound is oftentimes enough to make a strong, effective melodic statement regardless of how it is or isn’t relating to the harmony over which it is being used. Rendering these scales in the form of triad pairs yields more variety in tone color and suggests novel melodic possibilities.
I I F-7 Bb? B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. These are the work books from Jazz Harmon I 5 9 5 9 Try progressions 1 and 2 with this hexatonic, too. Newer Post Older Post Home. Gary Campbell has a very good explanation of why triad pairs are useful.
Jerry has the triad pair written above the staff and the actual chord change written below it. The hexatonic to play is written above the bar with the chord symbol below. If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded.
This sounds highly worthy of investigation, when I get done working with Compound Intervals. Some of the hexatonics presented in this book sound quite exotic and require attention to get in your ear. One way to create a hexatonic scale is to combine the notes of two triads that don’t have any common tones.
On a minor 7th chord, the upper Wad sounds the 9, n 1 and