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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Your email address will not be published. Also, does Bergonzi basically cover all of the material in the Campbell book or are they complementary? 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. I still think the book is useful and pretty fun to practice with, though honestly I haven’t used it if a few months. U 1’1 ttl “-” “Likewise, two major triads separated by a whole step can reinforce diatonic stability while at the same time adding a small amount of non-diatonic color:.
It should be assumed, from this point on, that Die means: This book will keep me busy for a long time, it’s really the most useful music book that I’ve run across in a long time. By using two triads, bi-tonal effects are created.
J Due to the nature of this book and to economize space, the word triad will be omitted after the pitch name. Here are some great links to free sax solo transcriptions- Sax solos link Lucas Pickford’s transcriptions Charles McNeal’s tra Jerry’s book is more practical than Gary’s book. Jerry bergonzi vol 6 – Developing a jazz hexztonics Education. Have each hexatonic be I bar, 2 bars or 4 bars each.
Jerry Bergonzi Vol 7 – Hexatonics.pdf
Sure, only a few different ones, but they’re coming out. In other words, why start with Major a whole step up followed by minor a whole step above a Major triad? IT Ffq r ra A hexatonic scale is simply a scale of six notes, though these six notes are usually derived from two different mutually exclusive triads. Try integrating this approach with other melodic materiaL:: Published on Jan View 1.
This effect is multiplied begonzi the triad pair is used over a root tone that is not present in either triad. The hexatonic to play is written above the bar with the chord symbol below. In some instances you might want the more dissonant sound of minor 9ths.
This major over major hexatonic can fit over many chords. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet. Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book.
Hexatonics – melody instruments
Gary book has more interesting permutations of pairs and Jerry’s book has more interesting applications. Try hexatonivs this approach with other melodic material. The structure and “tensile strength” of triads give the melodic line an independent internal logic. The “stand alone” sound is oftentimes enough to make a strong, effective melodic statement regardless of how it is or isn’t relating to the harmony over which it is being used.
Many modern piano players use hexatonic voicings by stacking the triads to create aparticular harmony. Additionally, the examples in this entry are specifically assembled with two separate, clearly-defined three-note elements in mind.
Bergonzi, Jerry – Hexatonics – melody instruments
Have each hexatonic be 1 bar,2 bars or 4 bars each. See also Chapter 9. In this instance, it is the C that is the unusual note that creates the rub. Note that sometimes the hexatonic includes an avoid note. I Eb Real Book 5th edition Vol. Thousands of pages of Jazz transcriptions! As with the other books in this series, there is a play along CD beergonzi tryout all of these diflerent sounds. The motion defines the context.
Jerry Bergonzi Vol 7 –
On a minor 7th chord, the upper triad sounds the 9, n 1 and For example, over the C-7 chord, try any these hexatonics: Of course, context is everything! Triad pair are basically the same thing as hexatonic scales.
Experimenting hxeatonics 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. D triad over e triad can be written and played in any inversion, for example: The book is big and just shy of pages.
For the minor 7th chords you may either use the hexatonics given on the previous page or play any “regular” scale. Thanks for the info. First and foremost, in order to maximize combinations, it is useful to be willing to consider two triads that may share one or more notes.
Nevertheless, it is a good way to practice in order to make it your own.