Hexatonics (Inside Improvisation Series, 7) [Jerry Bergonzi] on * FREE* shipping on qualifying offers. Hexatonics, is the seventh volume of Jerry. vol.7 S:JJUJXJH L lOA S31~3S NOIIVSIAO~dWI 3alSNI IZNOH:l39 A1H:l3r.. .!:,-X 1t~)r:1L-:’ “~pter 1 D C C pter’: C C::a ;’ter 3. Jerry Bergonzi: INSIDE IMPROVISATION SERIES VOLUME 7: HEXATONICS, Paperback Book & CD Package, All Instruments, and thousands more titles.
|Published (Last):||2 June 2010|
|PDF File Size:||18.40 Mb|
|ePub File Size:||19.75 Mb|
|Price:||Free* [*Free Regsitration Required]|
Jerry Bergonzi Vol 7 – Hexatonics. Published on Jan View 1. One way to create a hexatonic scale is to combine the notes of two triads that don’t have any common tones. Triads are incredibly strong sounding melodic devices. They are easy to think of and combining them is an accessible task for the soloist. Practicing hexatonics is great way to improve technique and it’s also great for ear training. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet.
Figuring out which triads lend particular colors to different chords adds detail to your playing. Some hexatonics are consonant sounding against a chord type.
Some of the hexatonics presented in this book sound quite exotic and require attention to get in your ear. 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. We improvise “in” the sound of the voicing and using hexatonic voicings and lines can lend a very contemporary sound. There are numerous hexatonic scales.
This book will focus on the ones that are practical for the improviser and composer. As with the other heatonics in this series, there is a play along CD to tryout all of hexafonics diflerent sounds. As already stated, a hexatonic scale can be derived by combining the notes brrgonzi two triads that do not share any common tones.
To write it down or to give it a name, we will call it D triad over C triad. 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. When the e triad is voiced on top it creates minor ninth intervals which are dissonant.
D triad over e triad can be written and played in any inversion, for example: J Due to the nature of this book and to economize space, the word triad will be omitted after the pitch name. It should be assumed, from this point on, that Die means: D triad over e triad.
Ordinarily, that symbol would mean a D triad over a e bass note. In most ofthe following examples and etudes accidentals only apply to the note they are attached to.
In some cases additional naturals are given. Some of the hexatonics jeerry this book create a high level of tonal ambiguity.
Therefore, choosing key signatures, accidentals or even names jar the triads involved was not always an easy task. So, when the same hexatonic in one place is referred to as “G: This hexatonic can be played over many different chords. What follows is a list of different melodies derived from this hexatonic scale.
Jerry Bergonzi Vol 7 –
Rather than practice all of them, select a few, and play them in all keys in order to gain flexibility with these hexatonics. There are 12 melodies selected from the list and transposed to all keys.
Choosing just a few of these melodies and playing them in all keys is more beneficial than trying play too many and not really getting them down. D IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. Have each hexatonic be 1 bar, 2 bars or 4 bars each. DIC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. U 1’1 ttl “-” “Have each hexatonic be 1 bar,2 bars or 4 bars each.
The hexatonic to play is written above the bar with the chord symbol below. Note that sometimes the hexatonic includes an avoid note. Natural 11 on a dominant chord is an avoid note but it sounds fine when used in passing.
The motion defines the context. Chord G 7 sus G bergonzo. D 7 sus C7 sus G7 sus: Again, there are 72 different melodies written jerrj. Select a few to practice and hextaonics in all keys keeping in mind what chords they may fit over.
IT Ffq r ra B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. jeerry
Jerry Bergonzi Vol 7 – Hexatonics.pdf
Have each hexatonic 1 bar,2 bars or 4 bars each. When the B triad is voiced over the C triad, major 7th intervals are gergonzi. If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded. In some instances you might want the more dissonant sound of minor 9ths.
This major over major hexatonic can fit over many chords. Try it, you might like it! On a minor 7th chord, the upper triad sounds the 9,: On a dominant chord, the two triads include the: G-7 7 F-7 BP” 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. Try integrating this approach with other melodic material.
Try anticipating the dominant chord by playing the hexatonic on the hexatpnics minor 7 chord. This is meant to be a particular sound and, of course, overusing it would hexatonids comparable to over-spiced food. For the minor 7th chords you may either use the hexatonics given on the previous page or play any “regular” scale.
D7l19 B ‘ D G7 Ct. G ‘ F-7 Bi: On a minor 7th chord, the upper Wad sounds the 9, n 1 and I I F-7 Bb? On a minor 7th chord, the upper triad sounds the 9, n 1 and Like a blues scale, in the wrong hands this could be devastating! 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.
Try integrating uerry approach with other melodic materiaL:: I 5 9 5 9 Try progressions 1 and 2 with this hexatonic, too. Try antiCipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. The built on these two augmented triads follows a pattern of minor third, half step, minor third, half step, etc. Also, try improvising using any rhythm but starting your phrase on the notes of the grid.
The chords in parenthesis are optional as they create more of an altered sound. F;IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. G-7 7 Hexatonics hexatonicz parenthesis create a higher degree of tension. The sixth hexatonic is two minor triads a whole step apart. Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book.
Of course, context is everything!
Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics
On some of these chords we are allowing much leeway. For example, when playing the over a A,7 chord, it sounds the major 7 as well as the ,7, which will work in certain circumstances. On an F7 chord, it sounds the: Played over it sounds the: See also Chapter 9. B-jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. B- jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting note”.
See also Chapter 8. Have each hexatonic be I bar, 2 bars or 4 bars each. D jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. It fits well over diminished chords or dominant chords that are being played with diminished scales. It could also be used on minor chords.
In this instance, it is the C that is the unusual note that creates the rub. It has a nice “bluesy” flavor, too. Try applying any of the hexatonics to progressions 13 and For example, over the C-7 chord, try any these hexatonics: For example, over the D-7 chord, try any of these hexatonics: For example, over the A-7 chord, try any of these hexatonics: