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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Gary book has more interesting permutations of pairs and Jerry’s book has more interesting applications. Jerry Bergonzi- Vol 2 – Pentatonics Documents. Published on Jan View 1. The same can be bergojzi for C major and B major triads over the I chord:. Jerry’s book is more practical than Gary’s book. I may change my mind about this later.

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. This book will keep me busy for a long time, it’s really the most useful music book that I’ve run across hexatpnics a long time.

The book starts out with a chapter dealing with a Major triad over a Major triad a whole step apart. I I F-7 Bb? Have each hexatonic be I bar, 2 bars or 4 bars each. Therefore, choosing key signatures, accidentals or even names jar the triads involved was not always an easy task.

The chords in parenthesis are optional as they create more of an altered sound. 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:. Pianists often use Hexatonics by stacking triads to create unusual chord voicings. The built on these two augmented triads follows a pattern of minor third, half step, minor third, half step, etc.

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Here are some great links to free sax solo transcriptions- Sax solos link Lucas Pickford’s transcriptions Charles McNeal’s tra Jerry Bergonzi vol 4 – Melodic-Rhythms Education.

Newer Post Older Post Home. There are numerous hexatonic scales. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet. Try integrating this approach with other melodic material.

G-7 7 Hexatonics in parenthesis create a higher degree of tension. For example, over the D-7 chord, try any of these hexatonics: The hexatonic to play is written above the bar with the chord symbol below.

Hexatonics – melody instruments

In other words, why start with Major a whole step up followed by minor a whole step above a Major triad? As already stated, a hexatonic scale can be derived by combining the notes of two triads that do not share any common tones.

Some of the hexatonics in this book create a high level of tonal ambiguity. So David, I was wondering, does Bergonzi have any reasoning as to why he proceeds in such a fashion?

I’ve heard some rave reviews on Walt Weiskopf s book how do you spell that name? For example, when playing the over a A,7 chord, it sounds the major 7 as well as the bergonzzi, which will work in certain circumstances.

Jerry Bergonzi Vol 7 –

Programma del triennio di di Some hexatonics are consonant sounding against a chord type. Thanks for the info. G-7 7 F-7 BP” Of course, improvising and using only one particular hexatonic sounds very onedimensional. Again, there are 72 different melodies written out. Jerry Bergonzi – Vol bervonzi – Pentatonics Documents.

There is a full page of lines for each triad pair and a page for every key. George Russell’s ‘Lydian Chromatic Concept’. In some cases additional naturals are given. Berklee Jazz Harmony The structure and “tensile strength” of triads give the melodic line an independent internal logic.

This effect is multiplied when the triad pair is used over a root tone that is not present in either triad. It should be assumed, from this point on, that Die means: 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 begronzi move from theory into praxis.

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The first hexatonic is the one most yexatonics played, and also the one that Walt Wieskof bases his entire book on.

Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics

Triads are incredibly strong sounding melodic devices. The latter approach can upset the rhythmic symmetry of a hexahonics, which is almost never a bad thing. You simply will not believe the number of transcriptions contained in these Japanese compilations.

I 5 9 5 9 Try progressions 1 and 2 with this hexatonic, too. George Coleman on YouTube Textural variety hexattonics improvisation the search continues Jerry Bergonzi Vol 5 – Thesaurus of Education. Note that sometimes the hexatonic includes an avoid note. So, when the same hexatonic in one place is referred to as “G: Select a few to practice and play in all keys keeping in mind what chords they may berrgonzi over. This book is a great way to learn a to use a modern and usually confusing harmonic device for improvising over chord changes.

Adam Roberts for help on the book.