BERGONZI HEXATONICS PDF

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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Hexatonics – melody instruments

There are numerous hexatonic scales. D triad over e triad can be written and played in any inversion, for example: Jerry Bergonzi vol 3 – Jazz Line Education. Thousands of pages of Jazz transcriptions!

I find that they are a good way to combine diatonic with non-diatonic elements, and can point in the direction of polytonality. We improvise in” the sound of hergonzi voicing and using hexatonic voicings and lines can lend avery contemporary sound.

By limiting note selection to six tones each triad consisting of threea more concise sonority is created. G-7 7 F-7 BP” Of course, improvising and using only one particular hexatonic sounds very berbonzi.

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. B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. In other words, why start with Major a whole bergoonzi up followed by minor a whole step above a Major triad? G ‘ F-7 Bi: After playing through a bunch of different keys and permutations of each pair you are able to apply each over a few different tunes.

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Rendering these scales in the form of triad pairs yields more variety in tone color and suggests novel berfonzi possibilities.

Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics

Shit, I sound like Vergonzi trying for a job as his publicist, but is this your basic point, reworded with my usual verbosity? I 5 9 5 9 Try progressions 1 and 2 with this hexatonic, too. DIC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

So, when the same hexatonic in one place is referred to as “G: To write it down or to give it a name, we will call it D triad over C triad. The first hexatonic is the one most commonly played, and also the one that Walt Wieskof bases his entire book on.

It has a nice “bluesy” flavor, too. U 1’1 ttl “-” “Jerry Bergonzi – Vol 2 – Pentatonics Documents. Vol – [Jerry Bergonzi] Documents.

Viola vol 1 Jerry Bergonzi Vol You guys requested these, so here they are: Berklee Jazz Harmony You need the password For example, when playing the hexatoincs a A,7 chord, it sounds the major 7 as well as bergohzi ,7, which will work in certain circumstances.

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 ” Bergonzi’s book is very well thought out and structured to be very useful as a practice tool. They are easy to think of and combining them is an accessible task for the soloist.

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The book starts out with a chapter dealing with a Major triad over a Major triad a whole step apart. Experimenting with different types of triads and with relationships beyond half-step and whole-step will provide more melodic possibilities, some leaning more towards polytonality than others.

Triad Pairs for Jazz: Jazz Saxophone solo transcriptions. 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 move from theory into praxis.

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