Jerry Bergonzi Inside Improvisation Series Hexatonics.pdf
INSIDE IMPROVISATION SERIES VOL. 7 HEXATONICS JERRY BERGONZI JERRY BERGONZI INSIDE IMPROVISATION SERIES VOL. 7 He
Views 192 Downloads 5 File size 39MB
Recommend stories
- Author / Uploaded
- grandijuan2-1
Citation preview
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
,~,~~[r~~ !5 J ~
.."
D#-/C#-
Chapter 6
Chapter 6
GP-/H
~~~ ~~~
~~~ ~I~
~
~~~~~~l
~~~~~~l ~~~~-I
~~~~-I
~~~~I
~i~I~~1 ~~~I~I ,'jIll
~ r ~~
f4:b~~
f4:b~~ ,4;b~~
l:b ~ I'~~~~~
Chapter 8 B-/C
I
I
. .
B-/C
,6;1>
~.
,6:1>~~
00
,6;1>
,6;1>~
,6:1>~ ,6:1>~
l6;1> ,6;1> ~F~ri~rrEiij¥=£ ,6;1> ~ JiJ J JHWiJ J ~~ ,7;1> _ fJij~. ,]1~I>~rW===: ?,.~C~~
(e-)? f.;
-
-
=
,
~ j
Chapter 8
1,
B-/C
I
I
I
I I
I
I
Chap!
E-/F
I I!
II
-
...J..I.
~
8
.
Chapter 8
A-lBb
~~~~
,2~"1'~~~~ ~~~
~~~
~~~
~~~
I
'~"b~
1
,8~b&~ 1
,9~bb~
I
~;~~
I
"~IV -I
$';bb~ ~EEEt!$~Pr r ~ r ~ J ::: I'
t.
:
I
!
-
Chapter 8
D-/Eb
II
--4
~ 1
~
----,
ChapterB
G-/Ab-
I
I
I
I
I
I
I
I
I
c-/c#
t.
_ _ _ _ _ _--=chapter 8
Chapter 8
F-/H
I
I
I
I
Chapter 8 B&-/B
Chapter 8
H-/E
I
I -'.
-
t
Chapter 8
GP-/A 1
'j~
2
'j~ ~3j~
,4j~J~
Chapter 8
C#-/D
"
~
,3
~J~ ,5~
§~~I
'~I
Chap!
_~
F/I-/G
~,~~ 11
12
--+,.
#
.....
J ..-... ~
-
I
ChapterB
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
, ~
tJ
)
I
~
4)
'" 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-
II
U
-e-
v'U'
v'U'
)
)
,
I
U
II
U
'U'
'U'
, U
'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
(0-/0-)
G-jAb-
(C-/O-) 2
7
7
7
2
7
I
7
2
G-jAb-
2
7
2
7
2
7
I
Ab-7
Eb7
2
7
(Bb-/B-) 2
7
2
7
F-jF# 2
7
2
Z
2
7
2
7
2
7
Eb-jE-
2
7
I
,
Eb-jE-
,
Z
7
2
7
2
I,
7
7
E-7
B7
F#-7
Z
2
7
(A-/Bb-)
(Ab-/A-)
/
,
Db?
(B-/C-) F- jF~-
»7
F7
(Eb-/E-) A-jBb
7
2
(H-/G-) 7
2
2
7
Z
7
~
A7
TUNE 7 (CD TRACK 12) I C (Ab- / A-) D-jEb-
D-jEb
'0
, , 5
9
2
7
2
7
2
Z
Z
7
I
Eb-7
2
7
2
(F~-/G-)
C-jO-
(F- /F~-) 7
2
7
2
7
I
2
7
C-jO2
,
7
7
Z
7
I
q-7
Ab7
2
7
(Eb-/E-) 2
7
Bb-jB-
2
z
2
7
,
Z
2
7
B-7
I
7
2
7
2
7
,
Ab-jA-
7
I
Z
7
2
Ab-jA7
2
7
2
7
I
A-7
E7
,
7
(B-/C-)
2
7
F~-jG-
2
7
G-7
7
7
2
7
2
7
,
7
C7
2
(A-/Bb-) 7
7
7
2
7
2
,
7
7
D7
(C-/O-) F~-jG-
7
2
(O-/Eb-)
(0-/0-)
,
Z
F#7
(E- /F-) Bb-jB
7
(Bb- /B-) E-jF-
,
Z
F-7
E-jF2
7
2
7
2
7
I
2
7
Bb?
(G-/Ab-) 2
7
2
7
7
7
~
TUNE 9 (CD TRACK 14) I C
'I! , , 5
E-/F
E-/F 2
7
Z
,
7
7
2
7
C-/O
7
7
7
7
I
7
7
7
(Eb-/E-)
C-/O 7
7
7
7
7
7
7
7
7
7
Z
7
7
2
7
2
7
7
Z
7
Z
7
7
7
7
7
Z
2
2
7
2
7
7
Z
Z
F7 b9
Bb-/B
Bb-/B
Z
7
7
7
7
7
7
7
2
7
7
C
(F- /F#-) 7
C0
7
Z
7
Z
Z
(O-/D-) 7
Z
7
7
7
Z
Dpb9
F#-/G
(B-/C-)
B7 b9
F#0
7
D-/Eb-
Ab 0
Ab-/A
Ab-/A z
Z
Z
Epb9
Bb 0
7
7
D-/Eb
G7 b9
D0
Z
9
7
(G-/Ab-)
F#-/G 2
7
7
Z
7
Z
7
Z
(A-/Bb-) 7
7
7
Z
7
~
7
A7 b9
E0
TUNE 10 (CD TRACK 15) I C
'B
, , 5
9
Z
7
7
z
7
7
7
Z
Z
7
7
7
7
7
7
A-/Bb 7
G0
7
7
7
7
Z
7
7
Z
(E-/F-)
Z
Z
7
7
7
2
7
2
Z
C7 b9
2
7
7
Z
7
z
I
7
B-/C
Z
7
7
7
7
7
7
7
7
7
7
Z
7
F0
7
Z
Z
7
7
7
7
(D-/Eb-)
B-/C 7
7
2
7
7
Z
2
I
7
7
Z
/
7
z
D7 b9
G-/Ab
(C-/O-)
Z
(F#-/G-)
F#7 b9
A0
A-/Bb7
7
Eb-/E
(#0
E7 b9
B0
7
2
O-/D
O-/D 7
7
Eb- /E
Ab7 b9
H0
2
(Ab-/A-)
F-/F#
F-/F#
7
(Bb- /B-)
G-/Ab 7
2
Z
7
Z
7
7
Bpb9
2
7
7
Z
7
7
~
Chapter 8
TUNE 6 (CD TRACK 11) I Bb
~
(A-jB~-)
E~-/E-
E~-/E-
'n
, 5
7
7
7
7
7
7
7
7
I
7
E-7
(G-jA~-)
(F#-jG-)
7
7
7
7
7
7
O-/D 7
7
I
7
7
7
7
7
7
7
I
D-7
A7
(E- jF-)
O-/D 7
7
Z
7
7
7
7
7
7
7
7
7
I
C-7
7
7
7
7
7
7
A-/B~7
7
7
7
I
A-/B~7
7
7
7
7
7
7
I
Bb-7
F7
7
(C-jG-)
7
7
G-/A~-
G-/A~7
"
7
7
7
7
7
7
7
I
Ab-7
7
7
7
7
7
7
7
7
7
(B-jC-)
(B~-jB-) 7
7
Eb?
(G-jD-) 9
7
(E~-jE-)
(D-jE~-)
B-/C-
7
G7
(F-jF#-)
B-/C-
7
7
F-/F#7
7
7
7
7
7
7
7
7
7
Fn- 7
Db?
(A~-jA-)
F-/F#7
7
7
7
7
7
7
~
B7
TUNE 7 (CD TRACK 12) I Bb (A~- j
(B~- jB-)
'B
, , 5
9
7
7
7
7
7
7
7
7
7
I
F-7
D-/E~-
(G-j A~-)
E-/F-
E-/F-
7
7
7
7
7
7
7
7
I
7
D-/E~7
7
7
7
7
7
Eb-7
BP
7
I
7
(F- jF#-)
7
7
Z
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
7
Fn 7
(#-7
7
7
B~-/B-
7
7
7
7
7
7
I
B-7
A~-/A-
7
7
A-7
7
7
7
7
7
7
Z
7
D7
7
7
7
7
7
7
7
7
7
7
7
7
7
,7
E7 (C-jG-)
F#-/G-
(B-jC-)
7
(G-jD-)
(D-jE~-)
A~-/A-
7
(E- jF-)
B~-/B-
(E~- jE-)
C-/O-
7
Ab?
(F#-jG-)
C-/O-
A-)
7
7
G-7
7
7
F#-/G7
7
7
7
I
7
7
C7
7
(A-jB~-)
7
7
7
7
7
1
Chapter 8 TUNE 9 (CD TRACK 14) I Bb
F~-/G-
~e 5
~ 9
~
7
7
2
F~-/G7
7
Z
2
Z
7
D-/Eb-
D-/Ebz
7
7
7
Z
Z
7
7
2
7
7
7
(F-/Gb-)
,
Z
7
I
Z
7
7
7
7
7
2
7
7
Z
7
7
G~0
2
Z
7
7
Z
Z
I
2
7
2
Z
C-/Db-
2
7
Z
b9
7
C-/Db7
7
7
2
7
7
7
7
7
Z
7
Z
7
7
7
(Eb- /E-)
2
7
7
I
7
7
Eb7 b9 Ab-/A-
Ab-/A7
z
G7 b9
Z
(O-/D-) 2
CF
z
Bb 0
Bb-/B-
Bb-/BZ
7
E-/F- (G-/ Ab-)
D0
pb9
C0
7
7
E-/F-
A7 b9
E0
2
Z
(A- /Bb-)
7
7
7
7
7
2
7
7
(B- /C-)
7
7
7
7
2
7
B7b9
F#0
~
TUNE 10 (CD TRACK 15) I Bb
G-/Ab-
G-/Ab-
~e 5
1 9
~
7
7
2
z
7
7
Z
Z
7
Eb-/E7
Eb-/E7
Z
2
7
2
Z
B-/C7
A0
7
7
7
2
7
7
(F#-/G-) Z
7
2
7
7
7
F#7 b9
q0
7
7
F-/Gb7
7
I
7
2
Z
7
Z
2
7
D7 b9
2
Z
2
7
7
7
(D-/Eb-) 7
7
2
Z
7
(Ab-/A-)
7
2
Ab7 b9
O-/D-
O-/D-
7
7
7
7
2
7
7
7
I
7
7
G0
2
7
Z
7
7
2
7
(E-/F-)
7
7
2
7
7
7
E7 b9
A-/Bb7
7
I
B0
B-/C7
7
F-/Gb-
Eb0
Bpb9
F0
7
7
(Bb-/B-)
A-/Bb7
7
2
7
7
7
I
7
z
C7 b9
(C-/Db-)
7
7
7
7
7
Z
~
Chapter 8 TUNE 6 (CD TRACK 11) I Eb
(O-/E~-)
(E- /F-)
fe
B~-jB-
B~-jB7
7
7
7
7
7
7
7
Z
B-7
7
7
Z
7
A~-jA-
A~-jA-
(G-/0-) 7
7
7
7
I
7
7
Z
7
7
2
7
I
A-7
E7
7
7
(B-/C-)
Z
7
f
F#-jG-
F#-jG Z
7
7
7
7
7
Z
7
I
G-7
7
7
Z
7
7
E-jF
Z
7
7
7
E-jF2
7
7
7
7
7
I
F-7
C7
f
D-jE~-
D-jE~2
7
2
7
7
7
7
7
I
7
z
7
7
7
Z
Z
2
7
Z
7
Z
Bb?
C-jOZ
2
I
Z
z
C-jO2
7
2
Z
7
z
I
q-7
Ab?
E~-7
7
(F#- /G-)
(F-/F#-) 2
7
(G-/A~-)
(A~-/A-)
9
2
(B~- /B-)
(A-/B~-)
7
7
D7
(C-/G-) 5
7
7
z
(E~- /E-)
z
7
7
z
7
z
FF
TUNE 7 (CD TRACK 12) I Eb (E~- /E-)
(F-/F#-)
B-jC
B-jC
f I~
Z
,7
7
2
7
7
7
2
C-7
A-jB~-
(O-/E~-)
7
7
7
2
7
2
7
I
Z
7
A-jB~7
7
7
7
2
7
I
7
7
7
f
G-jA~2
7
2
G-jA~7
2
7
2
7
I
2
7
2
F-jF#
(B~-/B-) 7
2
7
7
2
I
7
7
F-jF# 2
7
2
7
2
7
I
7
7
(A~- / 7
7
(A-/B~-)
9
f
E~- jE
E~- jE 2
7
E-7
2
7
2
7
7
7
2
7
A7
(F#-/G-) 7
7
7
7
7
7
7
7
A-)
7
7
B7
F#-7
Db?
A~-7
7
(B-/C-)
(G-/0-) 5
7
7
Eb?
B~-7
F7
7
(C-/Db-)
(G-/A~-)
O-jD 7
7
D-7
2
7
O-jD7
7
2
7
I
Z
7
G7
7
(E-/F-) 7
2
7
2
7
7
~
Chapter 9 TUNE 9 (CD TRACK 14) I H
G- jD- (E- jF-)
G-jD-
'B
, , 5
9
2
,
7
7
2
7
2
,
7
7
7
I
7
7
I
7
7
7
2
7
2
7
7
2
Z
7
2
7
2
7
2
C7 b9
G0 F-jG~7
7
2
7
2
I,
7
(A~-j A-)
,
7
7
'B
, 5
9
l
2
7
7
Z
7
2
7
Z
7
I
7
2
7
7
B~- jB7
2
,
7
7
2
7
I
7
7
2
7
2
7
2
7
Z
7
7
Z
7
2
7
7
I
Z
7
2
7
7
I
(A-jB~- ) 7
7
7
7
2
7
7
2
7
2
7
2
7
,
7
2
7
7
2
7
5 #9
7
Z
7
7
2
7
2
7
7
7
2
7
I
2
7
7
7
~
7
2
(E~- jE-)
7
7
7
2
7
7
7
Epb9
A~-jA-
Z
7
2
7
7
7
I
7
7
B7 b9
E-jF-
E-jF-
7
(F~-jG-)
C-jD~-
7
7
Z
7
D0
Z
7
I
Z
7
G7 b9
D jC-
~,:;g.~~t
7
I E~
The next hexatonic is a major triad over a minor triad a whole step apart.
DjC
2
7
CHAPTER 9
EXAMPLE:
7
F~7b9
7
7
7
F~0
Z
7
(B~-jB-)
E~-jE-
,
Z
7
2
G-jA~-
A~-jAZ
7
Bpb9
7
I
(G-jD-)
A7 b9
E0
7
Bb 0
F~-jGZ
2
C-jD~-
Dpb9
F~-jG7
7
B~-jB-
Ab 0
2
(F-jG~-)
Fl b9
C0
2
2
7
q0
D-jE~Z
7
D7~9
2
TUNE 10 (CD TRACK 15) D-jE~-
7
E~- jE-
Apb9
Eb 0
2
F0
F-jG~2
7
G-jA~-
(C-jDb-)
(D-jE~-)
B-jC-
A0
A-jB~-
A-jB~-
2
,
7
E7~9
B0
2
7
B-jC-
§
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.
7
(B- jC-)
7
2
7
2
7
(G-jA~-) Z
7
2
7
Z
7
~
Chapter 9
D/C
"~I'_~
,2~1'~~~~~
13~~
,4~b~~~ 15~b ,6~~
,7~~~~Fpr ,8~1!
,9~~~ ,';~
"~I! ,';~
D/C
II
--I. ~
_ _ _ _ _----=chapter 9
Chapter 9
D/C
~2:1,
,2;b~~~~ ~2;1'
,2:1, ,2:b~
,3;1, ,3~1,
~3:1,~~
~3:1,~~~~
,3;1,~~~~,
,3:1, ~ ,~I, gF r t §§==# 6
3
8
r "b r r~~~.~ ~
Chapter 9
D/C 37
w,'~
?~V ~'
~ J 00 J ij = L r~ =,..-~ • \..-.-.-r_.... E5J G q- r ! ..... J
I.. l
f
38 I,
$&b
I:
39
$&1. 4°
$&1> 41
$&1. 42
$ &b
~J~Ja~~~
hi frt rrtrmrtrJUD~~
~ JJ1WJttfFrtOUFtl4~~
§~
43
$&1' _tJJJH»rmrnrlUu~~
44
$&1> 45
$&b
~~
~ UW vlJI#lumur~~
46
$F~~~
~
~f,
$4;I'~~
$4:b~~
Chapter 9
D/C
,4:._#_ ~~~ ,5~.~~
,5;'~~g~~
'~f,~II~
,5;.
,5:'~1
,5;'~_1
,5:1'~'
,5;1, ,~. E F :a
___.
• •
Chaptt?1"
2
7
7
7
7
7
I
B~-7
,
7
7
7
7
7
Bb/ Ab7
7
I
7
7
Bb/Ab 7
2
7
7
7
7
I
A~-7
EP
7
(G/B-)
7
2
7
;
Ab/F~7
7
Ab/F# 7
7
7
7
7
7
2
7
7
7
7
F~/EZ
7
Z
7
F~/EZ
7
7
7
7
7
I
7
E-7
B7
F#-7
7
7
7
(C/Bb-)
(B/A-) 2
7
DP
(O/C-) 9
7
7
(E/O-)
(Eb/G-)
C/Bb
7
F7
(F~ /E-)
5
7
7
(A/G-) 7
7
7
7
7
II
7
A7
TUNE 7 (CD TRACK 12) I C (B/A-)
;e
F/Eb 7
7
2
7
7
7
2
7
,7
I
Eb-7
(A/G-)
(Ab/F#-)
F/Eb7
7
7
Eb/O
7
2
7
I
7
7
Eb/O 7
7
7
7
7
7
q-7
AP
7
I
(F~ /E-)
7
7
7
;
C~/B-
Cn/B 2
7
7
7
7
7
2
7
I
B-7
7
7
7
7
B/A
7
7
7
I
7
7
7
7
2
7
2
7
I
A-7
E7
7
7
2
7
;
7
7
G-7
Z
7
7
7
7
7
Z
7
C7
7
7
2
7
2
2
7
2
7
D7 (G/B-)
(C/Bb-)
A/G
A/G
7
(O/C-)
B/A
(H/G-) 9
7
(F/Eb-)
(E/O-) 7
7
F#7
(G/F-) 5
7
G/F 7
7
7
F-7
(Bb/Ab-)
G/F 7
7
2
7
Z
7
I
7
7
BP
7
7
2
7
7
7
~
Chapter 9
TUNE 9 (CD TRACK 14) I C
'e , , 5
9
GjF
GjF
,
7
7
,
7
7
7
7
7
EbjO 7
7
EbjO 7
7
7
7
Z
7
7
7
7
7
7
7
7
(F#jE- ) 7
2
7
7
7
7
7
2
7
2
7
2
7
I
7
2
7
7
7
7
7
7
7
OjB
OjB
7
7
7
7
2
2
7
2
2
7
2
7
2
7
7
7
(AbjF#-)
7
F7 b9
7
7
7
2
7
7
(EjD- )
7
2
7
7
7
7
7
Dpb9
AjG
(DjC-)
B7 b9
F~0
7
Ab 0
BjA-
BjA
FjEb
C0
2
Epb9
Bb 0
7
,
7
G7 b9
D0
7
FjEb
(BbjAb-)
AjG 7
7
7
7
7
2
7
2
(CjBb-) 7
7
7
2
2
~
Z
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
I
EP
7
7
7
7
7
2
7
I
2
7
2
7
2
7
7
7
2
7
~
EP
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
I
C0
2
7
O-/A~-
A~Ll
EP
7
7
A-/E~- (F~-/C-)
7
7
7
7
7
7
A-/E~7
7
2
7
2
AbLl
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
G7~9~13
00
DbLl
13
~
7
G-/G- (B~-/E-)
9
~
7
EP
5
~
7
B~-7
A~Ll
Chord
7
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 ,
7
2
7
7
7
2
7
,
7
I
2
7
2
7
2
7
7
2
7
2
B-jF 2
7
2
7
2
7
,
7
2
7
(-7
7
7
2
,
7
7
2
7
2
,
7
7
E-7
7
2
7
7
7
7
2
Z
7
2
7
2
7
Z
7
7
2
I
7
2
7
Z
7
7
7
2
I
7
2
7
7
7
2
;,
I
7
2
Z
7
7
7
(-7
Bbll
7
7
7
7
2
7
2
7
7
7
2
7
,
7
I
7
2
7
7
7
2
7
7
2
7
7
2
7
2
,
7
I
7
2
7
,
7
Z
7
I
7
7
7
7
(-7
G7
7
7
2
I
7
2
7
2
7
2
7
(-7
,
7
2
7
2
7
7
7
2
7
7
7
Z
7
Z
7
7
7
F-7
(-7
7
7
7
2
7
,
7
,
7
7
7
Z
7
7
7
I
F7
7
2
7
7
2
7
Z
7
~
7
7
2
7
Bb7
2
7
Z
7
2
7
,
7
,
7
G7 b9 G-jG
Z
7
2
7
Z
7
2
7
2
7
I
D0
7
Z
G- jG- (Bb- jE-)
D-7
F7
2
7
F7
7
7
2
7
7
7
G7 a lt.
B-jF- (Ab-jD-) L
Z
E-jBb- (G-jG-)
B-jF- (Ab- jD-)
,
7
B-jF- (Ab- jD-)
Z
Bbll
A7b9b13
E0
Ebll
7
2
G7 G-jG- (Bb-jE-)
F7
7
7
G-jG- (Bb- jE-)
Eb-jA- ((-jF#-) 2
2
G7 b9
D-7
D-7
2
7
2
(B~-jE-)
B-jF- (Ab- jD-) Z
7
I
(G-jG-)
BP
G-jG
D-7
2
7
F-7
((-jF~-)
A7
29
l
7
Eb-jA ((-jF#-)
25
~
7
2
7
Bbll
F7
21
~
Z
(Ab- jD-)
17
~
7
A7 b9b13
E0
Ebll
13
~
7
2
,
7
Eb-jA
9
~
2
F7
5
~
7
(-7
Bbll
Chord
7
E-jB~-
B-jF- (Ab-jD-)
Hexatonic
B-jF (Ab- jD-) Z
7
2
7
Z
Bbll
7
2
7
2
7
I
7
7
(-7
7
7
Z
7
F7
,
7
~
Chapter 10
TUNE 8 (CD TRACK 13) I H
b
f(j
7
7
7
7
7
7
Z
z
Z
Z
I
2
7
2
7
2
7
7
7
2
7
2
7
7
Z
7
Z
7
7
7
2
G-7
7
7
Z
7
7
2
7
7
7
2
7
f
7
2
7
2
I
7
7
2
7
7
7
7
7
7
2
7
7
7
7
- "
7
7
Z
2
7
Z
7
7
7
2
7
7
2
7
7
G-7
7
2
7
7
7
G-7
7
7
2
7
2
7
2
7
2
Z
7
7
7
Z
7
Z
Z
Z
C7
7
2
I
7
7
I
7
7
7
2
Z
7
7
7
2
7
I
Z
z
7
Z
Z
7
7
2
Z
I
2
Z
Z
Z
7
2
7
7
7
7
7
7
2
7
2
G-7
D7
2
7
7
Z
2
7
7
7
2
7
2
7
I
Z
7
2
7
Z
C-7
7
7
7
7
2
Z
I
2
7
(E~-jA-) 2
7
~
C7 (A~- jD-)
7
2
7
F7
A~-jDZ
7
(F-jB-)
(F-jB-) 7
Z
7
Z
7
7
D7~9
A-7
A~-jD7
Z
7
7
7
Z
Z
Z
7
7
I
Z
7
2
Z
2
7
F#-jC 7
7
2
7
2
Ftl
2
7
D7alt.
(E~-jA-) Z
2
F#-jC-
Ftl
2
7
(F-jB-)
B-jFZ
2
F7
(E~-jA-) 7
7
2
D7
A0
7
7
(A~- jD-)
D7~9
(E~-jA-) 2
7
A~- jD- (F- jB-)
C7 F#-jC-
7
Z
7
A~-jD-
E7 ~9~13
F#-jC 2
Z
2
I
A-7
C7
B0
B~tl
29
f
2
Bb-jE- (G- jO-)
25
f
7
7
I
A-7
G-7
Ftl
7
C-7
(G-jO- )
21
f
7
2
F#-jC7
2
A~-jD-
7
2
E7
2
Z
A-7
17 7
2
(G- jO-)
7
2
7
Ftl
C7
B-7
Z
2
(E~-jA-)
B~-jE-
2
7
Z
E7~9~13
F#-jCZ
Z
B0
B~tl
13
f
7
B~-jE-
9
f
2
B-jF-
C7
5
f
Z
G-7
Ftl
Chord
7
(E~-jA-)
F#-jC-
Hexatonic
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
..
"
..-,;
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
9
~ 17
B~-7 .I
A~-7 .I
25
~ 33
~ 41
.I
.I
F#-7 7
,
E -7 .I
.I
.I
.I
7
.I
.I
.I
,
7
,
,
7
.I
.I
777
7
.I
7
.I
.I
.I
7
7
7
7
7
Dorian .I
7
.I
.I
7
.I
.I
.I
.I
7
.I
.I
777
.I
7
.I
.I
.I
7
7
777
.I
.I
7
7
,
,
,
7
.I
7
.I
.I
.I
7
Z
7
Dorian 7
,
.I
.I
7
.I
,
,
,
7
7
Dorian .I
,
.I
.I
.I
7
.I
.I
7
.I
.I
.I
.I
7
777
7
7
777
.I
.I
.I
7
.I
Z
.I
Z
7
.I
.I
.I
.I
,.
.I
7
,
,
,
7
,
,
,
7
,
,
.I
.I
.I
7
Z
7
Z
Z
7
.I
.I
.I
.I
,
.I
7
,
.I
7
.I
,
.I
.I
7
Dorian .I
D -7 .I
7
.I
7
,
7
Dorian .I
.I
7
7777
" r r'r7 r1 , r r r ' t It)
Chapter 11
TUNE 14 (CD TRACK 19) I C
q-7 Dorian 7
, 9
17
B-7
, 33
41
7
A -7 7
7
7
7
7
7
7
7
7
Z
Z
Z
7
7
z z z z
I
7
Z
Z
z z z z
7
7
7
7
z z ,
7
7
7
,
Z
7
777
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
7
7
7
7
7
Z
I'
Z
7
777
7
7
7
777
z z z z
z
Dorian
F-7
7
7
7
7
7
7
7
Z
rrTZ
7
7
,
Z
7
7
7
7
7
7
z z z z
Dorian 7
E~-7 7
7
I
Dorian
G -7
7
7
Dorian
///z
7
25
7
7
I'
7
Z
7
Z
7
Z
Z
7
7
,
z ,
z
Z
Z
z z z z
,
z ,
z
z z z z
Dorian Z
Z
/z//
,zzzfl
TTT7[1
Chapter
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)
C~olD-.
I B~
D-7 Dorian 777
, 9
17
(-7 .I
.I
B~-7 7
7
,.
.I
7
7
7
7
Z
Z
7
7
Z
Z
7
Z
Z
7
7
Z
Z
F#-7
,.
7
z z
.I
,
7
.I
,
z ,
Z
Z
Z
7
7
Z
"
z
,
,
,
I
Z
.I
Z
Z
7
Z
,
,
,
z
,
,
7
,
,
,
z
,
,
z ,
7
Z
7
Z
777
Z
,
,
z ,
Z
7
Z
Z
7
Z
L
7
Z
7
Z
Z
7
7
Z
z z z z
,
Z~
Z
,
z
,
z
,
7
Z
Z
Dorian
, ,7,
E-7
.I
Dorian
777
41
.I
Dorian
7
33
Z
z z z z
Dorian z
z
Z
7
,
,
z ,
ILzzl,777E1 r r r , : r r r 7 f1
Chapter 11 TUNE 14 (CD TRACK 19) I Bb Eb-7 7
, 9
17
Z
7
7
7
B-7
7
7
7
A-7
7
7
Z
7
7
7
7
7
7
Z
Z
7
rz rZ rZz7
r7 rZ rZz7
z z z z
7 Z 7 7 rTTZ
////
rrTZ
G-7
7
7
7
7
7
Z
Z
7
7
,
7
7
7
7
f
Z
Z
7
7
Z
7
7
Z
Z
777
r7 r7 r7z7
7
7
Z
7
Z
7
7
Z
7
7
7
7
7
7
Z
7
7
Z
Z
Z
,
Z
Z
7
7771 r rrz
rrTZ
////
//7'/
7
7
7
7
7
7
7
7
z
Z
Z
7
7
7
7
7
7
7
7
Z
Z
.I
Z
Dorian
7777 r rrr
F-7 Z
7
Dorian
777~
,
7
Dorian
rrrr
33
7
7
q-7 Dorian
7
25
Dorian
""Z r rrz
z z z z
7
7
Z
7
rrTZ
7
,
Z
7
7
////
7
7
,
7
Dorian Z
7
7
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
r
7
.I
7
tItI
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
A-7 Dorian 7
9
~ 17
G-7 .I
25
777
~ 41
.I
Eb-7
q-7
.I
7
.I
,
.I
z ,
,
7
Z
Z
Z
7
Z
Z
Z
7
Z
Z
7
7
.I
.I
.I
.I
.I
.I
7
.I
.I
-'
Z
.I
,
,
7
.I
,
z ,
,
z ,
,
7
7
Z
Z
,
Z
7
7
.I
.I
,
7
7
Z
7
Z
7
Z
Z
Z
,
z
,
z
Z
7
Z
Z
Dorian 7777
,TTZ
77771777
rrrr
rrTZ
Dorian
7777
rrrc
B -7
,
Dorian
7777 r r,c
33
7
777
Dorian
F-7 "
Z
777
Dorian
7777
rrTZ
z ,
,
,
LLzzl'Z777 r rrT rrrz
Chapter 1 ~1
_ TUNE 14 (CD TRACK 19) I Eb
Bb-7 Dorian 7
7
7
7
7
9
~ 17
7
Z
F~-7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
rrTZ
Z
Z
7
7
7
Z
Z
Z
7
I
7
rrTZ
E-7
////
rT77
////
////
7
Z
I'
,
Z
7
z
Z
Z
Z
7
7
Z
7
Z
7
rrTZ
Z
7
7
r7 r7 cZzZ
7
2
7
7
7
7
7
7
7
Z
7
Z
7
7
7
Z
7
2
7
7
7
7
7
Z
7
7
7
7
7
7
7
Z
7
Z
7
7
7
2
7
Dorian
D -7
z
Z
I'
7
7
7
7
7
r7 r77Z27
7
777
r7 r7 r7z7
////
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
7
7
7
7
7
Z
7
7
7
Dorian
~ (-7 7
Z
7
Dorian
////
33
7
Ab-7 Dorian
~ 25
7
7
rrTZ
CrTZ
////
7
Z
7
7
rrTZ
Dorian 7
7
7
7
Z
7
7
Z
7
7
7
Z Z 7 7 rTTZ
L77zl)
rrrztl
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
.