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 –
I have already been able to start applying some of the principles I’ve learned in just the first four chapters. The structure and “tensile strength” of triads give the melodic line an independent internal logic.
Hans-jorg Rudiger for suggestions and putting it all together. A hexatonic scale is simply a scale of six notes, though these six notes are usually derived from two different mutually exclusive triads.
Of course, context is everything! Jerry Bergonzi Vol 7 – Hexatonics. Published on Jan View 1.
Have each hexatonic be 1 bar, 2 bars or 4 bars each. Jerry Bergonzi- Pentatonics-Vol 2 Documents.
We improvise in” the sound of the voicing and using hexatonic voicings and lines beryonzi lend avery contemporary sound. Select a few to practice and play in all keys keeping in mind what chords they may fit over. Gary book has more interesting permutations of pairs and Jerry’s book has more interesting applications. Serious Resources for Serious Players View my complete profile.
Therefore, choosing key signatures, accidentals hexztonics even names jar the triads involved was not always an easy task. Some of the hexatonics in this book create a high level of tonal ambiguity. Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Do you want to see what you’re missing? Each of the triads expresses a tonality. Triad pair are basically the same thing as hexatonic scales.
Try antiCipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. 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 vol 3 – Jazz Line Education. Nevertheless, it is a good way to practice in order to make it your own. Triads are incredibly strong sounding melodic devices.
For example, over the C-7 chord, try any these hexatonics: D triad over e triad. After playing through a bunch of different keys and permutations of each pair you are able to apply each over a few different tunes.
Vol – [Jerry Bergonzi] Documents. Some of the hexatonics presented in this book sound quite exotic and require attention to get in your ear.
Jerry Bergonzi Vol 7 – Hexatonics
If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded. Figuring out which triads lend particular colors to different chords adds detail to your playing. D triad over e triad can be written and played in any inversion, for nerry Try integrating this approach with other melodic materiaL:: As with the other books in this series, there is aplay along CD to tryout all of vergonzi different sounds. When the e triad is voiced on top it creates minor ninth intervals which are dissonant.
So, when the same hexatonic in one place is referred to as “G: I had looked through some of his previous books but this one looked the interesting to me. I I F-7 Bb? This book will focus on the ones that are practical for the improviser and composer. 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. So David, I was wondering, does Bergonzi have any reasoning as to why he proceeds in such a fashion?
Jerry Bergonzi Vol 3 Jazz Line U 1’1 ttl “-” ” ,