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. Many modern piano players use hexatonic voicings by stacking the triads to create a particular harmony. By Jerry Bergonzi Book & CD Item: ADV Sheet Music – £ – Hexatonic scales are six note scales. This book presents a practical method for the construction of hexatonic scales that are useful for.
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Jazz Saxophone solo transcriptions. In my experience, peppering a diatonic melody with a rogue triad from another key can help guide my ear towards melodic possibilities that would not occur in a purely diatonic environment. There are 12 melodies selected from the list hexattonics transposed to all keys. For the minor 7th chords you may either use the hexatonics given on the previous page or play any “regular” scale. Bergonzj that sometimes the hexatonic includes an avoid note.
Inside Improvisation Series, Vol. 7: Hexatonics: Book & CD
B-jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. Die D triad over C triad The reason the D triad is over the e triad is because it is more consonant sounding than e triad over the D triad.
It could also be used on minor chords. The first hexatonic is the one most commonly played, and also the one that Walt Wieskof bases his entire book on. To write it down or to give it a name, we will call it D triad over C triad.
Jerry Bergonzi Vol 7 – Hexatonics.pdf
I Eb Real Book 5th edition Vol. The motion defines the context.
Triad pair are basically the same thing as hexatonic scales. I still think the book is useful and pretty fun to practice with, though honestly I haven’t used it if a few months. Leave a Bsrgonzi Cancel reply Your email address will not be published. What I’m gathering from your comment is that Weiskopf limits his study to one hexatonic, Campbell’s book is more theoretically oriented and that Bergonzi, in typical Gonzomatic fashion, not only covers all of the possibilities one might think of, in terms of hexatonics, but also shows the musician how to apply the various approaches, which I gather, he does in a fashion similar to those used in his “Melodic Structures,” and “Pentatonics” book, so that one can immediately hexatonicw from theory into praxis.
Jerry has the triad pair written above the staff and the actual chord change written below it. Jerry’s book is more practical than Gary’s book.
Hexatonics – melody instruments
See also Chapter 9. It is useful to hexatojics that chord symbols can leave a lot to be desired and may not completely capture what the composer hexatonicss in mind. Jerry Bergonzi Vol 7 – Hexatonics Documents. When the e triad is voiced on top it creates minor ninth intervals which are dissonant. There is a full page of lines for each triad pair and a page for every key. This is meant to be a particular sound and, of course, overusing it would be comparable to over-spiced food.
If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded. Gary book has more interesting permutations of pairs and Jerry’s book has more interesting applications. Thousands of pages of Hedatonics transcriptions!
Jerry Bergonzi- Pentatonics-Vol 2 Documents. Triad Pairs for Jazz: As with the other books hexatonicd this series, there is a play along CD to tryout all of these diflerent sounds.
I may change my mind about this later. In this instance, it is the C that is the unusual note that creates the rub. Choosing just a few of these melodies and playing them in all keys is more beneficial than trying play too many and brrgonzi really getting them down. We improvise “in” the sound hexxatonics the voicing and using hexatonic voicings and lines can lend a very contemporary sound.
Jerry bergonzi vol 6 – Developing a jazz language Education.
Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics
Played over it sounds the: By limiting note selection to six tones each triad consisting of threea more concise sonority is created. D7l19 B ‘ D G7 Ct. Please note though, that any of the hexatonics can be applied to any of the hexatonjcs and progressions in the book. E-7 A7 D-7 G7 Of course, improvising and using only one particular hexatonic sounds very onedimensionaL Nevertheless, it is a good way to practice in order to make it your own. D jC-Try playing 8 notes of any hexatonic melody using the notes of the grid bervonzi starting notes.
D triad over e triad.
Of course, context is everything! Serious Resources for Serious Players View my complete profile. Do you want to see what you’re missing?
Pianists often use Hexatonics by stacking triads to create unusual chord voicings. It fits well over diminished chords or dominant hecatonics that are being played with diminished scales. Adam Roberts for help on the book.