HEXATONICS BERGONZI 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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The chords in parenthesis are optional as they create more of an altered sound. D triad over e triad can be written and played in any inversion, hexatonis example: Jazz Saxophone solo transcriptions. Donate to Casa Valdez!!

Is Berklee College of music bdrgonzi of your price range? On an F7 chord, it sounds the: As is the case with most things I practice, I find that practicing inversions is a good way to become as thorough as possible with an idea:. There are numerous hexatonic scales. The book is big and just shy of pages.

So David, I gergonzi wondering, does Bergonzi have any reasoning as to why he proceeds in such a fashion? What I’m gathering from your comment is that Berglnzi 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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I had looked through some of his previous books but this one looked the interesting to me. 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.

To write it down or to give it a name, we will call it D triad over C triad. Jerry Bergonzi Vol 7 – Hexatonics Documents. Jerry bergonzi vol 6 – Developing a jazz language Education.

By using two triads, bi-tonal effects are created. I do plan to work on more of them soon. When the B triad is voiced over the C triad, major 7th intervals are sounded. He doesn’t write about why he presents the material in a certain order.

Jerry Bergonzi Vol 7 –

Try anticipating the dominant chord by playing the hhexatonics on the preceding minor 7 chord. There is a full page of lines for each triad pair and a page for every key. The triads offer a skeleton structure to base lines on. See also Chapter 9.

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Jerry Bergonzi Vol 7 – Hexatonics.pdf

After playing through a bunch of different keys and permutations of each pair you are able to apply each over a few different tunes. 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. Figuring out which triads lend particular colors to different chords adds detail to your playing.

It is useful to note that chord symbols can leave a lot to be desired and may not completely capture what the composer had in mind. Thanks for the info.

George Russell’s ‘Lydian Chromatic Concept’. A hexatonic scale is simply a scale of six notes, though these six notes are hexxtonics derived from two different mutually exclusive triads.

Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Rendering these scales in the form of triad pairs yields more variety in tone color and suggests novel melodic possibilities.

It could also be used on minor chords.