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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George Coleman on YouTube Textural variety for improvisation the search continues This hexatonic can be played over many different chords.

Jerry Bergonzi Vol 7 – Hexatonics

I have already been able to start applying some of the principles I’ve learned in just the first four chapters. J Due to the nature of this book and to economize space, the word triad will be omitted after the pitch name. Shit, I sound like I’m trying for a job as his publicist, but is this your basic point, reworded with my usual verbosity?

G ‘ F-7 Bi: G-7 7 F-7 BP” Of course, improvising and using only one particular hexatonic sounds very onedimensional. Gary Campbell has a very good jetry of why triad pairs are useful.

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. We improvise in” bergknzi sound of the voicing and using hexatonic voicings and lines can lend avery contemporary sound.


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

Campbell’s approach in my Triad Pairs post. Also, does Bergonzi basically cover all of the material in the Campbell book or are they complementary? When the B triad is voiced over the C triad, major 7th intervals are sounded. It fits well over diminished chords or dominant chords that are being played with diminished scales.

Vol – [Jerry Bergonzi] Documents. Yes, here they are. This book presents apractical method for the construction of hexatonic scales that are useful for both the improviser and composer.

[PDF] Jerry Bergonzi Vol 7 – Hexatonics – Free Download PDF

Jerry Bergonzi- Pentatonics-Vol 2 Documents. The hexatonic to play is written above the bar with the chord symbol below.

It could also be used on minor chords. The motion defines the context. On an F7 chord, it sounds the: Therefore, choosing key signatures, accidentals or even names jar the triads involved was not always an easy task.

Jerry Bergonzi Vol 7 – Hexatonics.pdf

This effect is multiplied when the triad pair is used over a root tone that is not present in either triad. See also Chapter 8. Here are some great links to free sax solo transcriptions- Sax solos link Lucas Pickford’s transcriptions Charles McNeal’s tra I hexwtonics describe Mr.

Jerry Bergonzi – Vol 2 – Pentatonics Documents. For the minor 7th chords you may either use the hexatonics given on the previous page or play any “regular” scale.


On a dominant chord, the two triads include the: I do plan to work on more of them soon. Donate to Casa Valdez!! I still think the book is useful and pretty fun to practice with, though honestly I haven’t used it if a few months.

In this instance, it is the C that is the unusual note that creates the rub. Eb Real Book 5th edition Vol.

This sounds highly worthy of investigation, when I get done working with Compound Intervals. U 1’1 ttl “-” “Try it, you might like it! E-7 A7 D-7 G7 Of course, ebrgonzi and using only one particular hexatonic sounds very onedimensionaL Nevertheless, it is a good way to practice in order to make it your own. On a minor 7th chord, the upper triad sounds the 9,: The book starts out with a chapter dealing with a Major triad over a Major triad a whole step apart. Jerry Bergonzi Vol 5 – Thesaurus of Education.

These are the work books from Jazz Harmon Have each hexatonic be brrgonzi bar, 2 bars or 4 bars each. The first hexatonic is the one most jrry played, and also the one that Walt Wieskof bases his entire book on.

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