JERRY BERGONZI VOL 7 HEXATONICS PDF

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.

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Jerry Bergonzi Vol 7 – Hexatonics

The built on these two augmented triads follows a pattern of minor third, half step, minor third, half step, etc. Pianists often use Hexatonics by stacking triads to create unusual chord voicings. Jerry’s book is more practical than Gary’s book. Chord G 7 sus G t. DIC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

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

D triad over e triad. In other words, why start with Major a whole step up followed by minor a whole step above a Major triad? Jerry bergonzi vol 6 – Developing a hexatonifs language Education. D triad over e triad can be written and played in any inversion, for example: D7l19 B ‘ D G7 Ct.

Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics

Have each hexatonic be I bar, 2 bars or 4 bars each. Eb Real Book 5th edition Vol. On a minor 7th chord, the upper Wad sounds the 9, n 1 and After playing through a bunch of different keys and permutations of each pair you are able to apply each over a few different tunes.

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Jerry Bergonzi – Inside Improvisation Vol. In most ofthe following examples and etudes accidentals only apply to the note they are attached to. Try anticipating the dominant chord by playing the hexatonic on the preceding minor 7 chord.

Jerry Bergonzi Vol 7 –

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.

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Triad pair are basically the same thing as hexatonic scales. Have each hexatonic be 1 bar,2 bars or 4 bars each. On a minor 7th chord, the upper triad sounds the 9,: As already stated, a hexatonic scale can be derived by combining the notes of two triads that do not share any common tones. Select a few to practice and play in all keys keeping in mind what chords they may fit over. Jerry Bergonzi Vol 7 – Hexatonics Documents.

Jerry Bergonzi Vol 7 – Hexatonics.pdf

Practicing hexatonics is great way to improve technique and it’s also great for ear training. There are numerous hexatonic scales.

See also Chapter beryonzi. Serious Resources for Serious Players View my complete profile. George Coleman on YouTube Textural variety for improvisation the search continues A hexatonic scale is simply a scale of six notes, though these six notes are usually derived from two different mutually exclusive triads.

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Is there some sort of system or are they just presented randomly?

Hans-jorg Rudiger for suggestions and putting it all together. For example, over the C-7 chord, try any these hexatonics: F;IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. Try it, you might like it! Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book. What follows is a list of different melodies derived from this hexatonic scale.

It should be assumed, from this point on, that Die means: In some cases additional naturals are given. Each of the triads expresses a tonality. The book is big and just shy of pages. Here are some great links to free sax solo transcriptions- Sax solos link Lucas Pickford’s transcriptions Charles McNeal’s tra On a dominant chord, the two triads include the: The structure and “tensile strength” of triads give the melodic line an independent internal logic.

Of course, context is everything! Published on Jan View 1. I have already been able to start applying some of jerru principles I’ve learned in just the first four chapters. Try antiCipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. Jerry Bergonzi vol 3 – Jazz Line Education. IT Ffq r ra