Jerry Bergonzi Inside Improvisation Series 7 Hexatonics
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INSIDE IMPROVISATION SERIES VOL. 7
HEXATONICS JERRY BERGONZI
JERRY BERGONZI
INSIDE IMPROVISATION SERIES VOL. 7
Hexatonics
TABLE OF CONTENTS
Hexatonics Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11
.......................................................6
D/C 9
B-IC B/C B+IC+ H/C D-ICBb/CB-ICD/C, H-ICOther Hexatonics D+IC+ DOICo B-IC+ Bb+IC BOICEb-/C Acknowledgments
CD CONTENTS TRACK
TITLE
01
Tuning Note A
Tuning Note Bb
Tune 1 (medium)
Tune 1 (fast)
Tune 2 (medium)
Tune 2 (fast)
Tune 3 (Latin)
Tune 4
Tune 5 (medium)
Tune 5 (fast)
Tune 6
Tune 7
Tune 8
Tune 9
Tune 10
Tune 11
Tune 12
Tune 13
Tune 14
02
03 04 05 06 07 08 09 10 11
12
13 14 15 16 17 18 19
DEMONSTRATION TRACKS
20 21
22 22 24
Hexatonic Hexatonic Hexatonic Hexatonic Hexatonic
1 on 3 on 4 on 6 on 8 on
tune tune tune tune tune
3 6 8 9 6
(chapter 1)
(chapter 3)
(chapter 4)
(chapter 6)
(chapter 8)
,
35
61
91
117
141
167
193
219
.247
271
271
273
275
277
279
281
289
Introduction
HEXATONICS Hexatonic scales are six note scales. One way to create a hexatonic scale is to combine the notes of two triads that don't have any common tones. These six note scales are a valuable and effective tool for improvising, for creating voicings, and for composing. Triads are incredibly strong sounding melodic devices. They are easy to think of and combining them is an accessible task for the soloist. Practicing hexatonics is great way to improve technique and it's also great for ear training. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet. Figuring out which triads lend particular colors to differ ent chords adds detail to your playing. Some hexatonics are consonant sounding against a chord type. For example, a D/C,hexatonic (combining a D triad with a C triad) has a very consonant sound when played over a C67#11 chord because all ofthe notes are in the chord. On the other hand, a B/C hexatonic will be more dissonant and cre ate a rub on that harmony because the m of the B triad is the ~9 of the C67 chord. Some of the hexatonics presented in this book sound quite exotic and require atten tion to get in your ear.
BjC
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Many modem piano players use hexatonic voicings by stacking the triads to create a particular harmony. 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. We improvise "in" the sound of the voicing and using hexatonic voicings and lines can lend a very con temporary sound. There are numerous hexatonic scales. This book will focus on the ones that are prac tical for the improviser and composer. As with the other books in this series, there is a play along CD to try out all of these different sounds. If you liked checking out Pentatonics, you'll have fun with Hexatonics. Good Luck!
THE METHOD
As already stated, a hexatonic scale can be derived by combining the notes of two tri ads that do not share any common tones. For example, take a C triad and a D triad and combine the notes C-E-G and D-H-A to create a hexatonic scale. To write it down or to give it a name, we will call it D triad over C triad.
Die
(D triad over C triad)
The reason the D triad is over the C triad is because it is more consonant sounding than C triad over the D triad. When the C triad is voiced on top it creates minor ninth intervals which are dissonant. D triad over C triad can be written and played in any inversion, for example: .fi.
*
#§
i
sji
g#1l
or it can be organized into scale format: EXAMPLE
D triad C triad
Due to the nature of this book and to economize space, the word triad will be omitted after the pitch name. It should be assumed, from this point on, that D/C means: D triad over C triad. (Ordinarily, that symbol would mean a D triad over a C bass note.)
Note: In most ofthe following examples and etudes accidentals only apply to the note they
are attached to. In some cases additional naturals are given.
Some of the hexatonics in this book create a high level of tonal ambiguity. Therefore,
choosing key signatures, accidentals or even names for the triads involved was not always
an easy task. So, when the same hexatonic in one place is referred to as "G#-/FP-" and in
another as 'Ab-/Gb-" it is because of the context in which they occur.
~ I
Introduction What follows are 16 different kinds of hexatonic scales: 1.
DjC major over major a whole step apart
2.
B-jC minor over major a half step apart
3. BjC major over major a half step apart 4. B+jC+ augmented over augmented a half step apart 5. F"jC major over major a tritone apart
6. D-jC minor over minor a whole step apart 7. BbjC major over minor a whole step apart 8. B-jC minor over minor a half step apart
9. DjC major over minor a whole step apart 10.
11.
F#-jC minor over minor a tritone apart
D+jC+ augmented over augmented a whole step apart
12. DO JCO
diminished over diminished a whole step apart 13. B-jC+
minor over augmented a half step apart 14. Bb+jC augmented over major a whole step apart 15. BOjC
diminished over minor a half step apart 16. Eb-jC minor over major a minor third apart
(Hexatonics 11-16 are covered in Chapter 11)
CHAPTER 1
We will first consider the hexatonic "major over major a whole step apart," for exam ple DIe. This hexatonic can be played over many different chords. It fits over CI'17, C7, BP1'17#5, D7sus, A-7, F#7 altered, F#0, EO natural 9, GI'1 sus4 and G-1'17. What follows is a list of different melodies derived from this hexatonic scale. Rather than practice all of them, select a few, and play them in all keys in order to gain flexi bility with these hexatonics. There are 12 melodies selected from the list and transposed to all keys. 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.
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DESCENDING GRID: F~/C Try pJayiJJg 8 notes of any nexatonjc meJooy LJsmg the notes of the gIid as startmg Dotes. GbjC
GjDb
AbjD
AjEb
BbjE
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CjGb
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EXAMPLE
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using the same melodic phrase from each starting note of the grid. AbjD
AjEb
using different melodic phrases from each starting note of the grid. GjN
AbjD
AjEb
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
ASCENDI G G 10: F#jC Try playing 8 notes of any hexatorllc melody using the notes of the grid as starting notes.
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F#/C
F/B
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F/B
E/Bb
Eb/A
using different melodic phrases from each starting note of the grid.
F/B
E/Bb
Eb/A
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
"-'"
v
Chapter 5 APPLICATIONS
Try using major triads a tritone apart on tune 8 over the dominant chords. TUNE 8 (CD TRACK 13) I C
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AjEb (F#jC)
Hexatonic
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Chord
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F7 alt.
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7
Eb-7
(-7
Eb7
29
7
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AjEb (F#jC)
25
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AbL'1
G7b9b13
D0
DbL'1
7
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Bb-7
F7
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21
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AjEb (F#jC) 7
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F7
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17
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7
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Eb-7
AbL'1
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5
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(BjF)
AjEb (F#jC) 7
7
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Z
7
AbL'1
sin arent.l sis create a higher egree of tension.
7
7
Bb-7
2
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7
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Eb7
7
7
~
Chapter 5
Bb TUNE 8 (CD TRACK 13) I Bb
==.0 --: :1:--'::::5 in parenthesis create a higher degree of tension.
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rlexatonic
in ,
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2
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BjF
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F~
Hexatonics in parenthesis create a higher degree of tension.
7
7
G-7
7
7
7
7
(7
(E~j A) 7
7
~
Chapter 6 CHAPTER
6
The sixth hexatonic is two minor triads a whole step apart. EXAMPLE:
D- jC-
This is a very common hexatonic and can be used over many chords. For example, D-/C- fits over C-7, F7, A0, £I,~7 and B7 altered.
Chapter 6
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DE CENDING GRID: B-/CTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
,
B-/C-
C-/o-
0-/0-
O-/Eb-
Eb-/E-
E-/F-
F-/F#-
F#-/G-
G- / Ab-
Ab- / A-
A- /Bb-
Bb- /B
tJ
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'" tJ
1\
tJ EXAMPLE
B-/C
c-/o
EXAMPLE
B-/C
using the same melodic phrase from each starting note of the grid. 0-/0
O-/Eb-
using different melodic phrases from each starting note of the grid. c-/o
0-/0
O-/Eb-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter
ASCENDING GRID: B-jCTry playing 8 notes of any hexatorllc melody using the notes of the grid as starting notes. B-jC-
B~-jB-
A-jB~-
A~-jA-
G-jA~-
F~-jG-
F-jn-
E-jF-
Eb-jE-
D-jEb-
O-jD-
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'U'
EXAMPLE
B-jC-
EXAMPLE
,
B-jC-
'U'
using the same melodic phrase from each starting note of the grid. B~-jB-
A-jB~-
A~-jA-
using different melodic phrases from each starting note of the grid. B~- jB-
A- jB~-
A~- j
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
A-
C-jC-
ChapterS APPLICATIONS
Try using this hexatonic on tunes 6, 7, 9 and 10.
TUNE 6 (CD TRACK 11) I C (G-/Ab-) O-jD
;B
, , 5
9
2
7
O-jD2
7
2
,
7
,
7
7
I
D-7
2
(F-/F~-)
B-jC-
(E-/F-) 7
2
7
7
7
B-jC-
,
7
I
2
7
7
7
2
7
I
C-7
G7
2
(O-/Eb-)
7
2
7
A-jBb
2
7
2
7
7
7
2
7
7
7
Bb-7
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Chapter 8
TUNE 6 (CD TRACK 11) I Bb
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CHAPTER 9
EXAMPLE:
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TUNE 10 (CD TRACK 15) D-jE~-
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ThiS hexatonic fits over all of the same chords, that work for B-/C-. It can be played o,"er C-7, A-7, A0, H0, F7, A~7, B7, D7 and HLl7. See also Chapter 8.
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Chapter 9
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Chapter 9
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Chapter 9
TUNE 9 (CD TRACK 14) I C
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A7 b9
E0
TUNE 10 (CD TRACK 15) I C
'!l , , 5
9
AbjFn
AbjF# 7
7
2
7
2
7
2
7
2
EjD 7
2
7
7
7
7
7
G0
7
7
7
2
7
7
2
7
2
7
7
2
7
2
7
2
7
C7 b9
2
7
7
7
2
2
7
2
7
I
(EbjO-) 7
7
7
2
7
7
Z
7
7
t
2
7
F0
7
7
DjC 2
7
2
7
2
2
7
2
7
7
2
(F jEb-)
7
2
7
2
7
Z
7
D7 b9 BbjA~-
BbjAb 7
7
F#7 b9
A0
CjBb 2
7
DjC
(GjF- )
(AjG-)
F#jE
q0
E7 b9
CjBb 7
2
EjD
B0
2
7
Apb9
Eb 0
2
FnjE
(BjA-)
2
7
2
7
Z
7
2
7
Bpb9
(GjB-) 2
7
7
7
2
7
~
Chapter 9
Try using this hexatonic on tune 11 as it sounds the #9 b5 and 13 of the chords. I
TUNE 11 (CD TRACK 16) I C E~/O-
, (!
2
7
C/Bb2
7
7
7
7
7
I
E~~5
, , 5
9
B/A 2
7
7
7
7
7
2
7
7
7
7
Z
7
2
7
I
7
7
2
7
Z
7
7
7
I
2
7
q~~5
D~~5
B~~5
A~/F#-
A/G
F#/E
2
I
7
B~/ Ab
O/B
7
2
7
7
7
7
7
I
2
7
2
7
2
7
2
7
2
A~~5
B~~~5
G~~5
G/F
E/D
F/E~-
D/C
2
7
2
7
2
7
2
7
Z
I
A~~~5
7
7
7
7
7
2
7
I /
F~~5
7
7
Z
G~~~5
7
2
7
I2
7
7
C~~5
7
.
7
7
7
7
Z
7
2
7
7
7
2
7
2
2
7
E~~~5
The hexatonic from Chapter 8, "minor over minor a half step apart," can also be played in this context over a major 7b5 chord. EXAMPLE:
,
C-jG-
PLAYED ON E~n5
C-/O 13
n... E~~5
3
~-
B
#5
/17
q
~-
~9
g
7
7
~
Chapter 9
TUNE 6
~{j 5
~ 9
~
7
7
7
7
7
~
7
7
E-7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
I
A~-7
7
7
7
7
7
2
~ 9
~
2
7
7
7
7
7
F-7
7
7
7
7
7
7
I
q-7
7
2
7
I
(CD
7
7
2
7
2
7
7
7
7
7
Z
7
7
A-7
7
5
~
9
7
7
7
7
7
2
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
7
G~0
7
7
7
7
7
7
(CD
7
7
7
7
7
7
7
2
7
7
7
7
7
I
7
7
7
7
7
7
I
7
7
7
7
7
2
7
2
7
7
7
I
C~7~9
7
7
7
7
7
7
7
7
(D jC-) (BjA-)
7
7
7
7
7
7
~
7
(BjA-) (AbjGb-)
2
7
2
7
7
7
2
7
AP
7
7
7
7
7
7
7
I
7
7
7
2
7
7
7
2
7
I
7
7
7
7
7
7
7
(EbjO-) (CjBb-)
7
7
7
7
7
7
7
Il
7
I B~ (B~/A~-)
G/FZ
7
7
7
7
7
7
7
2
I
G7~9
7
Eb/m7
7
7
7
7
7
7
I
7
7
7
7
7
(F#/E-) 7
7
7
7
7
7
EP~9
B/A7
7
C7
7
7
7
A/G7
7
7
E7
7
7
(EjD-)
C#/B-
Eb/m-
(E/D-) 7
7
F/Eb-
B~0
7
7
I B~
G/F-
(A~/G~-) 7
7
B7
D0
2
7
7
(EjD-) (EbjO-)
Ab/F#-
7
TRACK 14)
(C/B~-)
C#/B-
C#/B-
7
2
A/G-
F7~9
C0
2
7
7
G-7
F/Eb7
7
C#/B-
A7~9
7
7
B-7
7
E0
7
7
7
7
EP
7
TRACK 12)
7
(GjF-)
(FjEb-) (DjC-)
A/G-
F/Eb-
& u
2
7
I
C/Bb7
7
I
D7
A/G-
7
E~-7
TUNE 9
~{j
7
7
(AjG-) (F# jE-)
B/A2
7
F/Eb-
F#7
B/A7
7
7
Ab/F#-
(OjB-) (BbjAb-)
Eb/C#2
7
G7
7
7
BP
Eb/C#7
7
I
7
F#-7
G/F-
7
7
B~-7
(EjD-) (DbjB-)
TUNE 7
5
I
DP
G/F-
7
C/Bb-
7
(BbjAb-) (GjF-)
E/D-
D-7
m/Ab7
2
7
I
F7
B~/ Ab-
~P
7
(Ab-jFH (FjEb-)
D/C-
C-7
7
,
7
I B~
E/D-
A7
D/C7
2
I
TRACK 11)
(CjBb-) (AjG-)
F#/E-
F#/E-
(CD
B/A7
7
7
7
7
7
(D/C-)
I
i
7
=,0 ~
7
7
7
7
7
7
7
I
Chapter 9
TUNE 10 (CD TRACK 15)
~
'e , , 5
9
B~/ A~-
B~/ A~-
,
7
2
7
2
7
7
7
7
F#/E7
7
2
7
2
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
FF~9
7
7
7
2
7
7
7
Z
7
7
7
7
7
2
7
2
7
7
7
2
7
7
2
7
E/D7
7
7
(B/A-) 7
7
7
7
AP~9
7
7
7
7
7
2
(G/F-)
7
2
7
7
7
7
7
E7~9
c/m-
(F/E~-)
D7~9
A0
7
B0
D/C-
D/C-
Z
E/D-
(A/G-)
7
2
7
A~/G~-
E~0
F#/E-
q0
2
2
BP~9
F0
2
A~/G~-
(C#/B-)
7
I B~
c/m2
7
7
7
7
7
7
7
(E~/m-)
7
7
7
7
2
~
7
C7~9
G0
Try using this hexatonic on tune 11 as it sounds the #9,
~5
and 13 of the chords.
TUNE 11 (CD TRACK 16) I B~
'e , , 5
9
F/E~7
7
2
7
2
7
7
7
C#/B7
2
7
7
7
2
2
I
7
I
7
2
7
7
7
7
7
7
I
7
E~L'l~5
EL'l~5
B~/A~-
B/A-
F#L'l~5
2
E~/C#-
D/C-
2
7
7
7
7
7
2
7
I
2
7
DL'l~5
BL'l~5
CL'l~5
A/G-
F#/E-
G/F-
7
7
B~L'l~5
7
7
7
7
2
7
I
7
7
7
7
7
7
7
7
GL'l~5
See also the note on page 242.
I
7
7
A~L'l~5
C/B~7
7
7
7
7
7
2
I
7
7
7
7
7
7
7
qL'l~5 A~/F#7
7
7
7
7
7
I
7
7
7
7
7
7
7
7
AL'l~5
E/D 7
7
7
7
7
7
I
7
7
FL'l~5
7
7
7
7
7
7
~
Chapter 9 TUNE 6 (CD TRACK 11)
G/B
G/B
,
jj
, , 5
9
2
7
I
7
7
7
2
7
7
B-7
7
7
2
7
2
B/A
7
7
7
I
7
(EbjG-) (CjBb-)
A/G 2
7
7
7
7
7
7
7
G-7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
G/F
G/F
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
I
7
7
7
7
Eb-7
7
2
7
2
7
7
7
7
2
7
(AjG- )
(AbjF~- )
F/Eb
2
BP
(BjA-) F/Eb
7
7
(OjB-) (BbjAb-)
7
7
I
F-7
C7
7
I
07
2
I
(FjEb-) (OjC-)
B/A
A-7
E7
A/G 7
(GjF-) (EjO-)
I E~
Eb/G
7
7
2
I
7
Z
7
7
7
7
7
I
C~-7
AP
(F~jE-)
Eb/G Z
7
7
7
7
2
2
~
7
F#7
TUNE 7 (CD TRACK 12) I H
O/C
'B
, , 5
9
7
7
7
7
7
7
7
7
7
C-7
7
7
7
7
2
C/Bb-
7
7
7
I
(EjO-) (OjB-)
Bb/Ab2
7
7
7
2
7
I
Ab-7
7
7
7
7
2
2
7
7
7
7
7
7
7
7
I
2
7
I
OP
2
7
7
7
F~/E-
7
7
7
7
I
7
2
7
7
E-7
7
(AjG-) 7
7
2
7
2
7
I
A~/F~-
7
7
7
7
7
7
7
I
7
7
F~-7
B7
E/O
E/O
2
7
2
7
2
7
7
7
I
0-7
A7
7
2
7
(OjC-) (BjA-) 7
7
2
7
7
7
2
7
(BbjAb-) (GjF-)
(CjBb-) F~/E-
2
EP
A~/F~2
(F#jE-) (EbjG-)
C/Bb-
Bb-7
F7
Bb/Ab 7
(AbjF#-) (F jEb-)
O/C
7
7
2
7
2
~
7
G7
TUNE 9 (CD TRACK 14) I H E/O
E/O
'B
, , 5
9
2
7
7
7
7
7
2
7
7
I
7
B0
E7 b9
C/Bb
C/Bb-
Z
7
2
7
Z
7
2
7
I
= _C -
7
7
7
7
(E~/G-) Z
7
7
7
7
7
7
7
I
7
2
7
I
7
7
AJ7~9
7
I
7
O/C
7
2
7
2
7
7
7
I
Z
7
7
7
2
7
7
7
07 b9
Bb/ A~-
Bb/ A~-
2
7
7
7
2
7
7
7
I
Z
7
0 0
7
7
7
7
7
2
7
(G/B-) 7
7
7
7
2
7
Bp b9 F~/E-
F#/E
(B/A-)
7
(F/Eb-)
A0
F0
A~/G~-
A~/G~7
7
2
C7 b9
G0
7
7
O/C
(G/F-)
7
7
2
7
2
7
I
7
7
(A/G-) 7
7
7
7
2
~
7
F~7b9
-
;
Chapter 9
TUNE 10 (CD TRACK 15) I Eb
~
'e , , 5
9
F/Eb 7
7
7
7
7
7
7
7
7
Db/B 7
Z
7
I
7
7
7
Z
7
7
7
7
7
7
7
7
(E/O- )
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
(C/Bb-)
7
7
7
7
2
I
7
Z
7
7
2
7
7
7
I
B/A
7
7
7
(F#/E-) 7
7
2
7
Epb9
7
7
7
Z
7
Z
(O/C-)
7
7
7
7
7
7
7
B7b9
G/F
A7 b9
E0
7
F~0
A/G 7
7
B/A
Opb9
A/G
7
Bb 0
Db/B
Ab 0
7
7
E~/Db-
Eb/Db
pb9
C0
7
(Ab/Gb- )
F/n
(Bb/Ab-)
G/F 7
7
7
7
7
7
I
7
7
7
7
Z
7
7
~
7
G 7b9
00
Try using this hexatonic on tune 11 as it sounds the #9, b5 and 13 of the chords. TUNE 11 (CD TRACK 16) I Eb
'e , , 5
7
7
7
7
7
7
7
7
I
qL'lb5
7
7
7
7
7
7
7
7
7
7
7
F~L'lb5
E/O
G/B
7
FL'lb5
2
7
2
7
7
F/Eb
AL'lb5
7
Bb/ Ab-
BbL'lb5
Ab/F# 7
9
A/G-
C/Bb
7
7
7
7
7
7
I
7
7
7
7
Z
7
7
7
-
7
7
7
7
7
7
7
7
Z
AbL'lb5
F#/E
Eb/G
7
7
7
7
2
7
7
7
I
7
Z
7
Z
Z
0L'lb5
7
Z
EbL'lb5
7
7
Z
Z
7
7
7
7
7
7
7
7
EL'lb5 B/A
O/C Z
7
BL'lb5
GL'lb5
See also the note on page 242.
, - -.
7
G/F
7
7
Z
7
7
7
I
7
7
CL'lb5
2
7
7
Z
I
7
7
7
Chapt r 10 CHAPTER 10
The next hexatonic is a two minor triads a tritone apart. It fits well over diminished chords or dominant chords that are being played with diminished scales. EXAMPLE:
F#-jC-
F#-jC
~~~1I:j~,~I~rnf(u§ B For example, the hexatonics H-IC- or £1,-1A- can be played over a G diminished chord or a C7 chord. EXAMPLE
Eb-jA
F#-jC /17
~
*
9
#*
#
11
II
q07
~s
- -
F#- jC 1
~
*
C7
~13
b13
-
I
~13
~-
/17
-
9
I
3
-
11
j
Eb-j A ~9
b
~9
#
~11
tl
5
13
- -
13
I
-
~7
~.
-
~9
I
3
-
~11
j
Chapter 10
H-/C
"
~I,
,2~b ~~fJiDr
,\1, ,4~1!~~~~~
,5~b
,6~b
'~I!~~ ,8~1,
,9~1!~gg 'O~~jj~~~~
'~I,-
"~b ,'~I, ~ ~r F!f JiBB.~
,... Chapter 10
F#-/C
t
•
t. 22
~,,~~
~
L
.. 23
," J j
*
J ~J ~~ j j J ; ~j j 3 tl:.:Ef E r*Hr r
Chapter 10
H-/C
,':1,
";I'~#~~~
,';1,
,';1,
,';.
.
,3;~~~~~~~
,3~~
3'~~~
'~',~~
,3;~~~~~~
,3:. ,3;~~: ~
_ _ _ _ _ _ chapter 10 H-/C
,3;~
,3;. ,3:~~~ ,4:.~~ ,4;.~~
,4:.§~
,4:.~~
,4;.~~~~ ,4;~~~
,4:~~~~~ ,~.~~ 47
,4:.~q~~~
Chapter 10
H-/C
,4:b~#_
I
, 5 ; b ~ ~ ~ ~I ,5~~~~
I
I '~b~#*ffl~~
,5:b~~
I
I
Chapter 10
F#-/C
72
,~~~~
Chapter 10
FU-/C
B-/F-
Chapter 1 0
Chapter 10
E-/Bb
Chapter 10
A-/Eb
Chapter 10
D-/A&
~~b~~
~~~b~~~~ ~~~~~~~
~&~~~
~
G-/CP-
Chapter 10
Chapter 10
C-/H
Chapter 10 F-/B
1
1W~Jij~J~~b~~~~~ ~2~~#~~~~ 3
~###~~~
~4###~~~
Chapter 10
Bb-/E
-
Chapter 10
Eh-/A
,
8
1;
....
I,
'
, 9
,#
,#
10
11
12
,~ f)
Chapter 10 A~-/D-
"
~
~J~
~
_ _ _ _ _ _Chapter 10
C#-/G
Chapter 10
DESCENDING GRID: F#-jCTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. n-jC-
G-jO-
A~-jD-
A-jE~-
B~-jE-
B-jF-
C-jG~-
O-jG-
D-jA~-
E~-jA-
E-jB~-
F-jB
l\
~
)
,., u
0
" U
v
u
, f
, ~
f
~
, f-
EXAMPLE
G-jO-
F#-jC-
EXAMPLE
F#-jC-
using the same melodic phrase from each starting note of the grid. A~-jD-
A-jE~-
using different melodic phrases from each starting note of the grid. G-jO-
A~-jD-
A-jE~-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 10
ASCENDING GRID: F~-/CTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. F#-jC-
t.
.e
F-jB-
.e-
E-jm-
Eb-jA-
D-jAb-
Db-jG-
C-jF#-
B-jF-
Bb-jE-
A-jEb-
Ab-jD-
v'U'
'I
4)
'" 'U'
t.J
, t..
, .e
t..
, t.J
~.e-
EXAMPLE
, ,
F#-jC-
EXAMPLE
n-jC-
u
~
~
using the same melodic phrase from each stal1ing note of the grid. F-jB
E-jBb
Eb-jA
using different melodic phrases from each starting note of the grid. F-jB
E-jBb
Eb-jA-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar,2 bars or 4 bars each.
u
G-jDb
Chapter 10
APPLICATIONS
Try using hexatonic #10 on tune 8 (the dominant 7th chords).
TUNE 8 (CD TRACK 13) I C A-/E~- (F~-/C-)
Hexatonic
~e
2
z
2
z
7
7
7
7
2
I
2
Z
7
7
7
7
7
2
7
7
2
7
7
A-/E~7
7
2
7
7
7
7
2
7
2
B~-7
7
2
7
7
2
7
2
7
7
7
2
0-7
7
7
7
7
2
7
2
I
A~Ll
7
2
7
7
7
7
7
7
z
2
I
7
2
7
7
7
7
2
7
7
7
I
5'
2
7
B~-7
A~Ll
2
7
2
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
I
7
7
A-/E~7
2
7
7
7
2
7
B~-7
7
7
7
7
2
7
7
7
7
2
7
7
7
7
2
Z
7
7
7
7
2
I
7
7
7
2
7
7
7
2
7
7
I
F7
7
2
7
B~-7
Bb-7
7
2
7
7
7
7
7
2
7
7
7
2
7
2
7
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7
7
7
7
7
2
7
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2
7
2
7
2
7
7
7
2
7
~
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7
7
Eb-7
7
(B-/F-)
7
2
7
AP
B-/F- (A~-/0-)
7
7
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
pb9
C-7
B-/F 7
7
7
7
7
7
7
7
2
7
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C0
2
7
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A~Ll
EP
7
7
A-/E~- (F~-/C-)
7
7
7
7
7
7
A-/E~7
7
2
7
2
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2
7
F7 alt.
A-/E~- (F~- /C-) Z
7
P
(F#- /C-) 7
7
(F#-/C-)
G7~9~13
00
O~Ll
2
7
7
A~7
B- /F- (A~- /0-)
EP
7
7
7
B-/F- (A~-/0-)
G-/G- (Bb-/E-) Z
7
p~9
C-7
C-7 A-/E~-
7
E~-7
C-7
2
7
(B-/F-)
B-/F- (A~- /0-)
7
2
G7
29
~
7
G-/G- (B~-/E-)
25
l
7
EP
21
~
7
(F#-/C-)
17
~
2
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00
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13
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G-/G- (B~-/E-)
9
~
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EP
5
~
7
B~-7
A~Ll
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O-/A~-
7
2
7
2
7
I
7
7
Bb-7
7
7
7
7
EP
(F#-/C-) 7
7
~
Chapter 10
TUNE 8 (CD TRACK 13) I B~
~
e ,
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2
7
7
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2
7
,
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2
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2
7
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7
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2
7
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7
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Z
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B-jF- (Ab- jD-)
,
7
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A7b9b13
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2
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7
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2
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D-7
2
7
2
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I
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BP
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7
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l
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25
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2
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B-jF- (Ab-jD-)
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2
7
Z
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2
7
2
7
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7
7
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7
7
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Chapter 10
TUNE 8 (CD TRACK 13) I H
b
f(j
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7
2
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2
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2
7
D7alt.
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2
F#-jC-
Ftl
2
7
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B-jFZ
2
F7
(E~-jA-) 7
7
2
D7
A0
7
7
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D7~9
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7
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C7 F#-jC-
7
Z
7
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E7 ~9~13
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2
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C7
B0
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29
f
2
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25
f
7
7
I
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G-7
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7
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21
f
7
2
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2
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7
2
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2
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17 7
2
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7
2
7
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2
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2
7
Z
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Z
B0
B~tl
13
f
7
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9
f
2
B-jF-
C7
5
f
Z
G-7
Ftl
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7
(E~-jA-)
F#-jC-
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Z
2
7
2
7
I
2
z
G-7
2
7
2
7
C7
(E~-jA-) 7
7
~
Chapter 11 CHAPTER 11
D+/C+ Hexatonic eleven, two augmented triads a whole step apart, creates a whole-tone scale and sound. For example, D+/C+ could be played on C7, D7, E7, H7, A~7 and m7. D+/(+
It could also be used on minor chords. O+/B+ could be played over C-(1i)7, for exam
ple. In this instance, it is the 0 that is the unusual note that creates the rub.
,r
0+/8+ /",.7
(-Ii
(~9)
#J
3
~r
11
J
5
r
13
J
Chapter 11 ----
D+/C+
l
Chapter 11
DO/CO Hexatonic twelve is two diminished triads a whole step apart. DO/CO
For example, DO/Co can be played on diminished 7th chords: C07, g07, H07 and A07 or the dominant chords A~7, B7, D7 and F7. BO/CO hexatonic is another that can be played over those same chords. BO/CO
~,~~~I~~t
E1 hf 1E1
Chapter 11
" ,3 ~
~~
Chapter 11
B-jC+ Hexatonic thirteen is a minor triad over an augmented triad separated by a half step.
B-jC+
For example, B-/C+ could be used on A-7, Ct,7#5, H0 or
B7~9sus4.
0.".. '\ r 11
B-'C+
~J·JI~~~
mr~
,3
I
I 276
1
HEXATONICS
1
-
I
..
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..-,;
Chapter 11 Bb+/C
Hexatonic fourteen is a major triad and an augmented triad separated by a whole step.
Bb+/C
For example, m+/c could be used on G-7, EO, C7,
m~7#5
and H7alt.
Chapter 11
Bb+/C
" ,3
~~
Chapter 11
BO/CHexatonic fifteen is a diminished triad and a minor triad separated by a half step.
For example, BO/C- can be used on C-7, F7, A0 and B7alt.
Chapter 11
" ,3 ~
€m=r~
Chapter 11
Eb-jC Hexatonic sixteen is a minor triad over a major triad, a minor third apart. H-jC
~,~b~bl~~1 r #5 #3j [fj Since this hexatonic is another subset of the diminished scale, EHC fits well over C7, E1>7, H7 or A7. It has a nice "bluesy" flavor, too.
Chapter 11 E&-/C
"
,3
- "
Chapter 11 APPLICATIONS
Try applying any of the hexatonics to progressions 13 and 14. For example, over the C-7 chord, try any of these hexatonics: F/H, D-/H, D/H, D+/H+, D-/C-,
m/c-, B-/C-, D/C-,
O+/B+, G+/F, D/H+, BO/C-.
TUNE 13 (CD TRACK 18) I C (-7 Dorian 777
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~ 17
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TUNE 14 (CD TRACK 19) I C
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, 9
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11
Try applying any of the hexatonics to progressions 13 and 14. For example, over the D-7 chord, try any of these hexatonics: G/F, E-/F, ElF, E+/F+, E-ID-, C/D-, O-/D-, E/D-, Eb+/Db+, A+IG, E/F+,
TUNE 13 (CD TRACK 18)
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Chapter 11 Try applying any of the hexatonics to progressions 13 and 14. For example, over the A-7 chord, try any of these hexatonics: D/C, B-IC, B/C, B+IC+, B-IA-, GIA-, G#-IA-, B/E-, m+IA~+, E+/D, B/C+, G#o/A-.
TUNE 13 (CD TRACK 18) I Eb
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Bb-7 Dorian 7
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ACKNOWLEDGME TS I wish to thank the following people: Adam Roberts for help on the book.
Jeri Bergonzi edited and wrote the text.
Hans-fOrg Rudiger for suggestions and putting it all together.
THE MUSICIANS
Andrea Michelutti drums (plays Bosphorus Master Series cymbals) Renato Chicco piano Dave Santoro bass Jerry Bergonzi plays Selmer saxophones, Rico reeds and uses Zildjian cymbals.
8
I
05095 14268
6
""Hexatonic scales are six note scales. This book presents apractical me hod for the construction of hexatonic scales t t are useful for both the improviser and com poser. Many modern piano players use hexatonic voic ing by stacking the triads to create aparticular harmony. W improvise ""in" the sound of the voicing and using hexa to ic voicings and lines can lend avery contemporary sound. As with the other books in this series. there is aplay along CD to tryout all of these different sounds. If you liked checking out ""Pentatonics", you'll have fun with ••
.
"
13000
.
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