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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Gary Campbell has a very good explanation of why triad pairs are useful. Adam Roberts for help on the book. Have each hexatonic be 1 bar, 2 bars or 4 bars each. 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.
To write it down or to give it a name, we will call it D triad over C triad. Try anticipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. By limiting note selection to six tones each triad consisting of threea more concise sonority is created.
As already stated, a hexatonic scale can be derived by combining the notes of two triads that do not share any common tones.
Try integrating this approach with other melodic materiaL:: On some of these chords we are allowing much leeway. The motion defines the context.
Jerry Bergonzi Vol 7 – Hexatonics.pdf
This major over major hexatonic can fit over many chords. This book will focus on the ones that are practical for the improviser and composer. 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.
Is there some sort of system or are they just presented randomly? You need the password Triads are incredibly strong sounding melodic devices. Again, there are 72 different melodies written out.
Inside Improvisation Series, Vol. 7: Hexatonics: Book & CD
Jazz Saxophone solo transcriptions. Each of the triads expresses a tonality.
For example, over the C-7 chord, try any these hexatonics: Jerry Bergonzi vol 4 – Melodic-Rhythms Education. Jerry Bergonzi Vol 7 – Hexatonics. Figuring out which triads lend particular colors to different chords adds bergnzi to your playing. For example, over the A-7 chord, try any of these hexatonics: Try integrating this approach with other melodic material.
Try antiCipating the dominant chord by hexatonis the hexatonic on the preceding minor 7 chord. There are numerous hexatonic scales.
Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics
Gary book has more interesting permutations of pairs and Jerry’s book has more interesting applications. 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.
Vol – [Jerry Bergonzi] Documents. Beginning with half-step relationships, F major and E major triads can be useful over ii and V in the key of C, while also generating interest with non-diatonic tones.
Sure, only a few different ones, but they’re coming out. The same can be said for C major and B major triads over the I chord:. As with the other books in this series, there is aplay along CD to tryout all of these different sounds. This effect is multiplied when the triad pair is used over a root tone that is not present in either triad.
In other words, why start with Major a whole step up followed by minor a whole step above a Major triad? One way to create a hexatonic scale is to combine the notes of two triads that don’t have any common tones.
I may change my mind about this later. The sixth hexatonic is two minor triads a whole step apart.
Donate to Casa Valdez!! In some cases additional naturals are given.
Hexatonics – melody instruments
G-7 7 Hexatonics in parenthesis create a higher degree of tension. Serious Resources for Serious Players View my complete profile. Many modern piano players use hexatonic voicings by stacking the triads to create aparticular harmony. Jerry has the triad pair written above the staff and the actual chord change written below it. Try applying any of the hexatonics to hexahonics 13 and