26 Jul I ordered Jerry Bergonzi’s Hexatonics book, the seventh volume in his Inside Improvisation series. I had looked through some of his previous. Jerry Bergonzi: INSIDE IMPROVISATION SERIES VOLUME 7: HEXATONICS, Paperback Book & CD Package, All Instruments, and thousands more titles. 19 Jan Practicing hexatonics is great way to improve technique and it’s also great for ear training. Hearing these different combinations of triads.

Author: Tuzilkree Dumi
Country: Guinea-Bissau
Language: English (Spanish)
Genre: Travel
Published (Last): 26 July 2016
Pages: 286
PDF File Size: 12.70 Mb
ePub File Size: 11.52 Mb
ISBN: 284-1-19630-179-4
Downloads: 44110
Price: Free* [*Free Regsitration Required]
Uploader: Zulkizragore

D triad over e triad. Jerry Bergonzi Vol 7 – Hexatonics Documents.

The sixth berbonzi is two minor triads a whole step apart. On a minor 7th chord, the upper Wad sounds the 9, n 1 and J Due to the nature of this book and to economize space, the word triad will be omitted after the pitch nergonzi. Have each hexatonic be I bar, 2 bars or 4 bars each. The motion defines the context. George Coleman on YouTube Textural variety for improvisation the search continues Practicing hexatonics is hexatoniics way to improve technique and it’s also great for ear training.

The first hexatonic is the one most commonly played, and also the one that Walt Wieskof bases his entire book on. So David, I was wondering, does Bergonzi have any reasoning as to why he proceeds in such a fashion? The triads offer a skeleton structure to base lines on.

He doesn’t write about why he presents the material in a certain order. When the box with the book finally came I thought that the distributor got my order wrong because it came in a big and very heavy box. Try integrating this approach with other melodic materiaL:: Each of the triads expresses a tonality.



I had looked through some of his previous books but this one looked the interesting to me. Some hexatonics are consonant sounding against a chord type. Have each hexatonic 1 bar, 2 bars or 4 bars each. 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.

If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded. 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.

Jerry Bergonzi Vol 7 –

Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book. Yes, here they are. D-jC- Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. Sure, only a few different ones, but they’re coming out.

Have each hexatonic be 1 bar, 2 bars or 4 bars each. Triad pair are basically the same thing as hexatonic scales.

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

Viola vol 1 Jerry Bergonzi Vol Also, try improvising using any rhythm but starting your phrase on the notes of the grid. B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.


This major over major hexatonic can fit over many chords.

Here are some great links to free sax solo transcriptions- Sax solos link Bergoonzi Pickford’s transcriptions Charles McNeal’s tra By using two triads, bi-tonal effects are created. After playing through a bunch of different keys and permutations of each pair you are able to apply each over a few different tunes. Jerry Bergonzi- Pentatonics-Vol 2 Documents.

I 5 9 5 9 Try progressions 1 and 2 with this hexatonic, too. Triads are incredibly strong sounding melodic devices. Triad Pairs for Jazz: They are easy to think of and combining them is an accessible task for the soloist.

For the minor 7th chords you may either use the hexatonics given on berbonzi previous page or play any “regular” scale. U 1’1 ttl “-” “D 7 sus C7 sus G7 sus: I do plan to work on more of them soon. 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. What follows is a list of different melodies derived from this hexatonic scale. Select a few to practice and play in all keys keeping in mind what chords they may fit over.