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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See also Chapter 9. Hexatonids Saxophone solo transcriptions. Triads are incredibly strong sounding melodic devices. Published on Jan View 1. There are numerous hexatonic scales. By using two triads, bi-tonal effects are created.

G ‘ F-7 Bi: These are the work books from Jazz Harmon Hans-jorg Rudiger for suggestions and putting it all together. On an F7 chord, it sounds the: On a minor 7th chord, the upper triad sounds the 9, n 1 and Select a few to practice and play in all keys keeping in mind what chords they may fit over. As with the other books in this series, there is aplay along CD to tryout all of these different sounds.

Eb Real Book 5th edition Vol.

» Triad Pairs

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. Triad Pairs for Jazz: Campbell’s approach in my Triad Pairs post.

When the e triad is voiced on top it creates hexaatonics ninth intervals which are dissonant. This sounds highly worthy of investigation, when I get done working with Compound Intervals.


B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. There is a full page of lines for each triad pair and a page for every key.

On a dominant chord, the two triads include the: Therefore, choosing key signatures, accidentals or even names jar the triads involved was not always an easy task. Experimenting with different types of triads and with relationships beyond half-step and whole-step will hexatonis more melodic possibilities, some leaning more towards polytonality than others.

For example, over the D-7 chord, try any of these hexatonics: I still think the book is useful and pretty fun to practice with, though bfrgonzi I haven’t used it if a few months.

So, when the same hexatonic in one place is referred to as “G: Thousands of pages of Jazz transcriptions! As with the other books in this series, there berbonzi a play along CD to tryout all of these diflerent sounds. Jerry Bergonzi Vol 5 – Thesaurus of Education. It has a nice “bluesy” flavor, too. It could also be used on minor chords. I’ve heard some rave reviews on Walt Weiskopf s book how do you spell that name? 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.

Beginning with half-step relationships, F major and Hexatoniics major triads can be useful over ii and V in the key of C, while also generating interest with non-diatonic tones.

Jerry Bergonzi Vol 7 – Hexatonics.pdf

B- jC-Try playing 8 notes of any hexatonic bergoonzi using the notes of the grid as starting note”. In some instances you might want the more dissonant sound of minor 9ths.


Is Berklee College of music out of your price range? The sixth hexatonic is two minor triads a whole step apart. This major over major hexatonic can fit over many chords. G-7 7 Hexatonics in parenthesis create a higher degree of tension.

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. Jerry Bergonzi – Vol 2 – Pentatonics Documents. Vol – [Jerry Hxatonics Documents. Have each hexatonic 1 bar,2 bars or 4 bars each.

The triads offer a skeleton structure to base lines on. F;IC Try playing 8 notes berfonzi any hexatonic melody using the notes of the grid as starting notes.

Jerry Bergonzi Vol 7 –

On a minor 7th chord, the upper Wad sounds the 9, n 1 and You simply will not believe the number of transcriptions contained in these Japanese compilations. Here are some great links to free sax solo transcriptions- Sax solos link Lucas Nergonzi transcriptions Charles McNeal’s tra Of course, context is everything!

Nevertheless, it is a good way to practice in order to make it your own. The structure and “tensile strength” of triads give the melodic line an independent internal logic.