– Ebook download as PDF File .pdf), Text File .txt) or read book online. 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. Many modern piano players use hexatonic voicings by stacking the triads to create a particular harmony. By Jerry Bergonzi Book & CD Item: ADV
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Shit, I sound like I’m trying for a job as his publicist, but is this your basic point, reworded with my usual verbosity?
INSIDE IMPROVISATION SERIES VOLUME 7: HEXATONICS: Jerry Bergonzi:
George Coleman on YouTube Textural variety jerry bergonzi hexatonics improvisation the search continues Donate to Casa Valdez!!
Campbell’s approach in my Triad Pairs post. Do you want to see what you’re missing?
Gary book has more interesting permutations of pairs and Jerry’s book has more interesting jerry bergonzi hexatonics. Thousands of pages of Jazz transcriptions! Newer Post Older Post Home. By limiting note selection to six tones each triad consisting of threea more concise sonority is created.
Inside Improvisation Series, Vol. 7: Hexatonics: Book & CD
The structure and “tensile strength” of triads give the melodic line an independent internal logic. You simply will not believe jerry bergonzi hexatonics number of transcriptions contained in these Japanese compilations. This effect is multiplied when the triad pair is used over a root tone that is not present in either triad.
Sure, only a few different ones, but they’re coming out.
The Global Source for Jazz
Triad Pairs for Jazz: By using two triads, bi-tonal effects are created. Triad pair jerry bergonzi hexatonics basically the same thing as hexatonic scales. I had looked through some of his previous books but this one looked the interesting to me.
The first hexatonic is the one most commonly played, and also the one that Walt Wieskof bases his entire book on. After playing through a bunch of different keys and permutations of each pair you are able to apply each over a few different tunes. In other words, why start with Major a whole step up followed by minor a whole step above a Major triad? The book is jerry bergonzi hexatonics and just shy of pages.
Eb Real Book 5th edition Vol. I still think the book is useful and pretty fun to practice with, though honestly I haven’t used it if a few months. You need the password This can be very helpful in modal settings where there are no diatonic, cycle-forth root movements jerry bergonzi hexatonics 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 jerry bergonzi hexatonics and structured to be very useful as a practice tool.
Yes, here they are. This book is a great way to learn a to use a modern and usually confusing harmonic device for improvising over chord changes. I have already been able to start applying some jerry bergonzi hexatonics the principles I’ve learned in just the first four chapters. So David, I was wondering, does Bergonzi have any reasoning as to why he proceeds in such a fashion?
For example, the conventional chords used in the Jazz idiom are oftentimes associated with jerry bergonzi hexatonics chord-scales of seven or more tones melodic minor, major, minor, harmonic minor, and so on. The “stand alone” sound is oftentimes enough jerry bergonzi hexatonics make a strong, effective melodic statement regardless of how it is or isn’t relating hergonzi the harmony over which it is being used.
This book will keep me busy for a long time, it’s really the most useful music book that I’ve run across in a long time.
Gary Campbell has a very good explanation of why triad pairs are useful. A hexatonic scale is simply a scale of six notes, though these six notes are jerry bergonzi hexatonics derived from two different mutually exclusive triads.
What I’m gathering from your comment jerry bergonzi hexatonics 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 jeerry, 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.
George Russell’s ‘Lydian Chromatic Concept’. Jerry has the triad pair written above the staff and the actual chord change hexatinics below it. There is a full page of lines for each triad pair and a page for every jerry bergonzi hexatonics.