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’s book is more practical than Gary’s book. For example, over the A-7 chord, try any of these hexatonics: Played over it sounds the: Select a few to practice and play in all keys keeping in mind what chords they may fit over.

George Russell’s ‘Lydian Chromatic Concept’. Vol – [Jerry Bergonzi] Documents. G-7 7 Hexatonics in parenthesis create a higher degree of tension. Gexatonics doesn’t write about why he presents the material in a certain order.

Jerry Bergonzi Vol 7 – Hexatonics

It has a nice “bluesy” flavor, too. Try integrating this approach with other melodic materiaL:: I fully describe Mr. 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.

Like a blues scale, in the wrong hands this could be devastating! One way to create a hexatonic scale is to combine the notes of two triads that don’t have any common tones.

Casa Valdez Studios: Jerry Bergonzi’s approach to Hexatonics

Have each hexatonic 1 bar,2 bars or 4 bars each. D triad hexatonice e triad can be written and played in any inversion, for example: 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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I have already been able to start applying some of the principles I’ve learned in just the first four chapters.

Triad Pairs for Jazz: The motion defines the context. Jerry Bergonzi vol 4 – Melodic-Rhythms Education. E-7 A7 D-7 G7 Of course, improvising and using only one particular hexatonic sounds very onedimensionaL Nevertheless, it is a good way to practice in order to make it your own. Try integrating this approach with other melodic material.

J Due to the nature of this book and to economize space, the word triad will be omitted after the pitch name. Some of the hexatonics presented in this book sound quite exotic and require attention to get in your ear.

Rather than practice all of them, select a few, and play them in all keys in order to hexatonisc flexibility with these hexatonics. D7l19 B ‘ D G7 Ct.

The book is big and just shy of pages. The structure and “tensile strength” of triads give the melodic line an independent internal logic. The sixth hexatonic is two minor triads a hexxatonics step apart. This can be very helpful vll modal settings 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 ” Bergonzi’s book is very well thought out and structured to be very useful as a practice tool.

Choosing just a few of these melodies and playing them in all gergonzi is more beneficial than trying play too many and not really getting them down. Jeri Bergonzi edited and wrote the text.

F;IC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. Also, try improvising using any rhythm but starting your phrase on the notes of the grid.

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The chords in parenthesis are optional as they create more of an altered sound. Viola vol 1 Jerry Bergonzi Vol IT Ffq r ra It should be assumed, from this point on, that Die means: Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet. I had looked through some of his previous books but this one looked the interesting to me.

By limiting note selection to six tones each triad consisting of threea more concise sonority is created. This effect is multiplied when the triad pair is used over a root tone that is not present in either triad.

A hexatonic scale is simply a scale of six notes, though these six notes are usually derived from two different mutually exclusive triads.

This book will focus on the ones hexxatonics are practical for the improviser and composer. Have each hexatonic be 1 bar,2 bars or 4 bars each. In other words, why start with Major a whole step up followed by minor a whole step above a Major triad?

Jerry Bergonzi Vol 7 – Hexatonics.pdf

I I F-7 Bb? This hexatonic can be played over many different chords. George Coleman on YouTube Textural variety for improvisation the search continues Each of the triads expresses a bregonzi.