BERGONZI HEXATONICS PDF

March 15, 2020 0 Comments

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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When the e triad is voiced on top it creates minor ninth intervals which are dissonant. Jerry Bergonzi- Vol 2 – Pentatonics Documents. D triad over e triad. Jerry Bergonzi Vol 7 – Hexatonics Documents. I had looked bfrgonzi some of his previous books but this one looked the interesting to me. This can be very helpful in modal bedgonzi 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 “.

Note that sometimes the hexatonic heatonics an avoid note. On a dominant chord, the two triads include the: Practicing hexatonics is great way to improve technique and it’s also great for ear training. Figuring out which triads lend particular colors to different chords adds detail to your playing.

See also Chapter 8.

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. In some instances you might want the more dissonant sound of minor 9ths.

Adam Roberts for bergknzi on the book. Yes, here they are.

Jerry Bergonzi Vol 7 –

This book is a great way to learn a to use a modern and usually confusing harmonic device for improvising over chord changes. Chord G 7 sus Hexatonicw t. The triads offer a skeleton structure to base lines on. On a minor 7th chord, the upper Wad sounds the 9, n 1 and B- jC-Try playing 8 bergoonzi of any hexatonic melody using the notes of the grid as starting note”.

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Each of the triads expresses a tonality.

Inside Improvisation Series, Vol. 7: Hexatonics: Book & CD

Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Select a few to practice and play in all keys keeping in mind what chords they may fit over.

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. You need the password There is a full page bergonzk lines for each triad pair and a page for every key.

I I F-7 Bb? In most ofthe following examples and etudes accidentals only apply to the note they are attached to.

Hexatonics – melody instruments

There are numerous hexatonic scales. I have already been able to start applying some of the principles Hexatonjcs learned in just the first four chapters. Jerry Bergonzi – Vol 2 – Pentatonics Documents. Many modern piano players use hexatonic voicings by stacking the triads to create aparticular harmony. Programma del triennio di di As with the other books in this series, there is aplay along CD to tryout all of these different sounds.

The hexatonic to play is written above the hexaronics with the chord symbol below. On a hexxatonics 7th chord, the upper triad sounds the 9,: 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.

Jerry Bergonzi – Inside Improvisation Vol. This major over major hexatonic can fit over many chords. Jerry Bergonzi vol 4 – Melodic-Rhythms Education.

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Jerry Bergonzi Vol 7 – Hexatonics.pdf

George Coleman on YouTube Textural variety for improvisation the search continues 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.

On an F7 chord, it sounds the: 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 immediately move from theory into praxis.

I fully describe Mr. On some of these chords we are allowing much leeway. IT Ffq r ra Try anticipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. There are 12 melodies selected from the list and transposed to all keys.

Do you want to see what you’re missing? They are easy to think of and combining them is an accessible task for the soloist.

Try integrating this approach with other melodic material. Gary Campbell has a very good explanation of why triad pairs are useful. Of course, context is everything! Heatonics each hexatonic be 1 bar,2 bars or 4 bars each.