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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Triads are incredibly strong sounding melodic devices. F;IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. Programma del triennio di di 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.

Have each hexatonic be I bar, 2 bars or 4 bars each. As already stated, a hexatonic scale can be derived by combining the notes of two triads that do not share any common tones.

In most ofthe following examples and etudes accidentals only apply to the note they are attached to. See also Chapter 9. Have each hexatonic be 1 bar,2 bars or 4 bars each.

Jerry Bergonzi Vol 3 Jazz Line Some hexatonics are consonant sounding against a chord type. It could also be used on minor chords. This hexatonic can be played over many different bsrgonzi.


G-7 7 F-7 BP” Of course, improvising and using only one particular hexatonic sounds very onedimensional. Try integrating this approach with other melodic material. D triad over e triad.

G-7 7 Hexatonics in parenthesis create a higher degree of tension.

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Jazz Saxophone solo berginzi. As with the other books in this series, there is a play along CD to tryout all of these diflerent sounds.

For example, the conventional chords used in the Jazz idiom are oftentimes associated with parent chord-scales of seven or more tones melodic minor, major, minor, harmonic minor, and so on. Try it, you might like it!

Jerry Bergonzi Vol 7 – Hexatonics

George Russell’s ‘Lydian Chromatic Concept’. If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded.

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It fits well over diminished chords or dominant chords that are being played with diminished scales. Hans-jorg Rudiger for suggestions and putting it all together. The book starts out with a chapter dealing with a Major triad over a Major triad a whole step apart. The sixth hexatonic is two minor triads a whole step apart. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet.

I’ve heard some rave reviews on Walt Weiskopf s book how do you spell that name? It should be assumed, from this point on, that Die means: Serious Resources for Serious Players View my complete profile.


On a minor 7th chord, the upper triad sounds the 9, n 1 and Have each hexatonic 1 bar,2 bars or 4 bars each. In some cases additional naturals are given.

Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book. One way to create a hexatonic scale is to combine the notes of two triads that don’t have any common tones. When the box with the book finally came I thought that the distributor got my order wrong because it came in a big and very heavy box. Jerry Bergonzi- Vol 2 – Pentatonics Documents.

Jerry Bergonzi Vol 7 – Hexatonics.pdf

For the minor 7th chords you may either use the hexatonics given on the previous page or play any “regular” scale. U 1’1 ttl “-” “When the e triad is voiced on top it creates minor ninth intervals which are dissonant. Thanks for the info. Try applying any of the hexatonics to progressions 13 and Berklee Jazz Harmony