Jerry Bergonzi Vol 7 - Hexatonics

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HEXATONICS

llexatonic 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 \-aluable 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 different chords adds detail to your playing. Some hexatonics are consonant sounding against a chord type. For example, a DIC hexatonic (combining a D triad with a C triad) has a very consonant sound when played over a CA7:;!1 chord because all of the notes are in the chord. On the other hand, a B/C hexatonic will be more dissonant and create a rub on that harmony because the D~ of the B triad is the ~9 of the CA7 chord. Some of the hexatonics presented in this book sound quite exotic and require attention to get in your ear.

B/C

\i~~~~~~L~-~~~r~~f~

l~ ~-fl\1any modern 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 contemporary sound.

There are numerous hexatonic scales. This book will focus on the ones that are practical for the improviser and composer. As with the other books in this series, there is a play along CD to tryout all of these diflerent sounds.

If you liked checking out Pentatonics/ you'll have fun with Hexatonics. Good Luck!

As already stated, a hexatonic scale can be derived by combining the notes of two triads that do not share any common tones. For example, take a e triad and a D triad and combine the notes e-E-G and D-F~-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 e triad is because it is more consonant sounding than e triad over the D triad. When the e triad is voiced on top it creates minor ninth intervals which are dissonant.

D triad over e triad can be written and played in any inversion, for example:

.u

or it can be organized into scale format:

EXAMPLE

D triad C triad

, 11 ~J .. ~ r . J 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 Die means: D triad over e triad. (Ordinarily, that symbol would mean a D triad over a e 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 jar the triads involved was not always

an easy task. So, when the same hexatonic in one place is referred to as "G:-/H-" and in

another as 'i'b-/G;'-" it is because ofthe context in luhich they occur.

111 traduction

What follows are 16 different kinds of hexatonic scales:

1. D/C major over major a whole step apart

2. B-/C minor over major a half step apart

3. B/C major over major a half step apart

4. B+/C+ augmented over augmented a half step apart

5. F~/C major over major a tritone apart

6. D-/Cminor over minor a whole step apart

7. Bb/Cmajor over minor a whole step apart

8. B-/Cminor over minor a half step apart

9. D/Cmajor over minor a whole step apart

10. F~-/C-minor over minor a tritone apart

11. D+/C+ augmented over augmented a whole step apart

12. DO/CO diminished over diminished a whole step apart

13. B-/C+ minor over augmented a half step apart

14. Bl>+/C augmented over major a whole step apart

15. BO/Cdiminished over minor a half step apart

16. Eb-/C minor over major a minor third apart

(Hexatonics 11-16 are covered in Chapter 11)

CHAPTER 1

We will consider the hexatonic "major over major a whole step apart," for example DIe. This hexatonic can be played over many different chords. It fits over C1'17, C7, B,1'17~5, D7sus, A-7, H7 altered, F~o, 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 flexibility 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: D IC

Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

J C E/D F~/E G IF A~/G~ A/G B~/Ab B/A e/B;' C#/B

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EXAMPLE using the same melodic phrase from each starting note of the grid.

Die Eb/D~ E/D F/E~

~ [F rf EFfJ Ig&E:t E~ I~J JJ[IE [~ IiJ J)~[ EFjJJ

EXAMPLE using different melodic phrases from each starting note of the grid.

Die Eb/D~ E/D FjEb

F~jE GjF AbjGb AjG

, #c fu8*efr!t Ii jJ JrrLc IbUPU'[ fe, IJ-"'I'-q#"""-'d~ ~ ~ j] II 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.

.. ASCENDING GRID: DIC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

D/C q/B C/B~ BjA BojAo A/G A:>jG, GjF FjE, EjD EbjD~

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DjC qjB CjB~ BjA

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B;,jA~ AjG AbjGb GjF

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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.

~ ~ I

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L

APPLI CATIONS

Try using this hexatonic on tunes 1, 2 and 3.

The hexatonic to play is written above the bar with the chord symbol below. Note that sometimes the hexatonic includes an avoid note. For example, when playing D/C hexatonic on a D7 chord, the fifth ofthe C triad, which is "G", is the natural 11 ofthe chord. Natural 11 on a dominant chord is an avoid note but it sounds fine when used in passing. The motion defines the context.

TUNE 1 (CD TRACKS 3 e>" 4) IC

c FIE,

t ~~. ,Y"C F7 sus

B,/A, F/H

B,7 sus F7 sus

B71A, F/H

(7 sus B~7 sus F7 sus

TUNE 2 (CD TRACKS 5 e>" 6) IC

B~7 sus

B,7 sus

D/( G/F (/B, F/H

t~ D7 G7 (7 sus F7 sus

B'/A,

.~ B,7 sus

5

TUNE 3 (CD TRACK 7) I C " ,;t

C

D/C BD/A~

A-7 D7 alt,

TUNE 1 (CD TRACKS 3 er 4) I B, ~'Bb

t... Chord G 7 sus

G

t. C7 sus G7sus

D/C C/B~ G/F

~. 7 7 7 77 7 7 7 t. D 7 sus C7 sus G7 sus

:'I

TUNE 2 (CD TRACKS 5 er 6) I B~~ ~~ c/B~

7 7 7 7rTTZ Z 7 TT rTTZ //LZ=zzzzi rTTZ rTZL

C7 SUS

9 C/Bt>

7 Z Z 7

,7 Z 7///z /z// IZ Z Z //z/ /7// ///:Z~ C7 sus

17 E/D A/G D/C G/F

////1 //~77/d //// 1777 7[?Z 77 [ E7 A7 D 7 sus G7 sus

7 7 7~

TUNE 3 (CD TRACK 7) I B~ D

C

5

,. TUNE 1 (CD TRACKS 3 eT 4) IH

Hexatonic Die -::z -::z -::z 2 -::z -::z -::z z -::z -:::z~ L. L L ~ 2 L ~ L. ~ L ~ 2 L. L ~ Chord D 7 sus

G/F Die z 7' 7' Z 7 ,1 Z z 7' 7 7' 77 Z / ,7 2 7 2 7 7 / 2 7 2 / 7~ I G7 sus D7 sus

A/G G/F Die

A7 sus G 7 sus D7 sus

TUNE 2 (CD TRACKS 5 eT 6) I Eb

G/F Z 7 Z 21 ZL. , L. L.~

G7 sus

G 7 sus

B7 E7 A7 sus D7 sus

G/F 2 2 Z 7' 7 L 7 7 7 Z 7 Z 7 7 L 7 z Z Z 7 z Z Z 7~ //// L L L L Z Z 7 Z Z 7 Z 7 z Z Z 7 7I' Z7 Z7 7 z II2' rz rTLL rTZ

It G 7 sus

Chapter 1

I TUNE 3 (CD TRACK?) I E~ ~E~

G~/F~ A/G

0-69 q7 alt.

B/A G/F

B7 alt.

CHAPTER 2 "

next hexatonic to consider is the commonly used "minor over major a half step apart." When the minor triad is stacked on top of the major triad, the minor chord becomes the 7, 9 and :n 1.

EXAMPLE: B-jC

B-je

~ ~ ~*

~ r Ef ~ can be played over the following chords:

F~o, D7, D7sus4, Gb.7Slls4 and B-7 Phrygian.

Again, there are 72 different melodies written out. Select a few to practice and play in all keys keeping in mind what chords they may fit over.

B-/C

" j J J Jg;J JEj J aJ#i JJ Jcf f1 crIf r r

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I.

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rf\r:F t f r f RiJ 3 hJ JJ j JJ1 JJd g ~\~

DESCENDING GRID: B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

B C-/C~ C~-/D D-/b Eb-/E E F-/F~ G-/A~ Ab-/A A-/B, Bb-/B J

..

~

f'I fiKm i tJ 1+'U

f'I....

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tJ


B-/C C-/C~ C~-/D D-/Eb


B C-/C~ C~-/D D-/b

~ j rtr j J J1!J IJd J J~J ~JwJ J IE t#[ Pc IT trIrE [idr fif II 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.

, ASCENDING GRID: B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

B B,-/B A-/B~ G~-/A G-/Ap F::-/G F-/G~ E-/F D~-/E D q-/D C D'

t..

t..

t..

to


B-/C B,-/B A-/Bb G#-/A

f jJ JJ~]]J IJ:=~!JJJ~M IDd JJJj] I ~~"""~J~Jj]#Ij ~ :1


3-/C B~-/B A-/B, G~-/A

~ ~ f r~J JJI~r 't F~r~; Ii #J die [ frE r' L~ I'E E~[::f ~~I :\150, try improvising any rhythm but starting your phrase on the notes of the

grid. Have each hexatonic 1 bar,2 bars or 4 bars each.

c

9

APPLICATIONS

Try llsing this hexatonic on tunes I, 2 and 4 as follows.

TUNE 1 (CD TRACKS 3 e; 4) IC

o

G-jAl> D-jEo

BPsus F7 sus

TUNE 2 (CD TRACKS 5 e; 6) IC

G-jAb L " L 7 z77771777717 If 7 z z r 7 TTZ 77 7 Z ////1////1///4 BPsus

17 B-jC E-jF D-jEl>

07 G7 C 7sus F7 sus

G-jAb

r'TZ 77 7 7 ,Z7 rz7717rTLZ 77,77 77 'I 7 ,Z Z //// 2 727 rTLL BPsus

TUNE 4 (CD TRACK 8) IC

Hexatonic B-j( D-jb f , , 7 , , , z z z z z 7 7 7 7 Z 7 Z Z 7 7 7 z z z 7_~:, , , , L , , L , , , , L , L L Z 7 7 Z L L L , , , , ,rT77 eLLZ rrrz rrTL7 ////~

Chord A - jD (-jF

B-j( D-jE~

A-jD (-jF

'7 (-jDI> 7 Z Z Z z Z Z 7 _7 7 7 Z Z 7 7 7.1 Z 7 7 7 z z z z 7 7 Z 7, , , , z z z Z , , , , //// Z Z 7 Z , , , ,~ "" "" B~-jE~ DtI-

D

TUNE 1 (CD TRACKS 3 er 4) I Bo

Chord G 7 sus

E

I '- (7 sus G 7 sus

~ ' D7 sus (7 sus G 7 sus

TUNE 2 (CD TRACKS 5 er 6) I BJ

(7 sus

'7 q-/D B-/( E-/F 77771//// 77J717777 7 .z Z 7 f , 7 "I 771Mrr,z rz- rz Z 2 L r rrTZ TI 7 7 TTL...' zrr. E7 A7 D7 sus G7sus

TUNE 4 (CD TRACK 8) I BJ

E

17 D-/b F-/F~ 7 7 7 , 777 7 7 7 Z "//// rT" //// rz IT rTTZ rr,z //// rrZ7

(-/F

TrTL

25 (~-/D E-/F 777 7 " 7 Z 7r2 rz rTTZ II ,7 r, rr 7 TTL 2 rTZ ,7 Z 7

B-/E D-jG

" TUNE 1 (CDTRACKS3eT4) I ED ~

1:--1exatonic B-1C ~e 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7rTTZ- rTTT rTTZ- rTTZ

Chord D 7 sus

E-/F B-/C

~ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7r r r r r r r r r 2 r r r r r 2 G 7 sus D 7 sus

F~-/G E-/F B-/C 7777 7777 7777 7777r r r r r r r r r r r r r Z- r 7 U A7 sus G7 sus D7 sus

TUNE 2 (CD TRACKS 5 eT 6) I H

E-/F z z z z Z Z 7 Z 7 Z 7 Z z z z z z Z Z 7 z z z z z z z z Z Z 7 Z_~ , , , L , , , ,L L L L L L L L L L L L L L L L L L L L L L L L

f.- G 7 sus

E-/F

z z z z 7 Z 7 Z z Z Z 7 Z 7 7 Z 7 Z Z Z Z Z 7 Z Z 7 Z Z 7 7 7 7~ , , , , L L L L L L L L L L L L 7 Z Z 7 L L L L L L L L rrrr-f.- G 7 sus

G:-/A q-/D F~-/G B-/C

, , , , , , , , , , , , , , ,7 7 7 7 7 7 , , , 71 7 7 7 7 7 7 77 7 7 2 7 7 7 7 7 7 7 7 rT77 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 f.

B7 E7 A 7 sus D7 sus

E-/F

, , , , , ,7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7=)7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Z 7 7 7 7 7 7 7 TrrT-f.- G 7 sus

Chapter 2

TUNE 4 (CD TRACK 8) I E~

B

B

c

B

CHAPTER 3 -

The third hexatonic we will investigate is major over major a half step apart. When the B triad is voiced over the C triad, major 7th intervals are sounded. If you invert these triads and voice the C triad on top of the B triad, minor 9th intervals are sounded. In some instances you might want the more dissonant sound of minor 9ths.

EXAMPLE

B/C 1'1

)1 )

~ e-

r It [n J

B/C creates major 7th intervals between the C and B, the G and F~ and the E and D~. C/B

1'1

\~ [ Itr J l~ C/B creates minor 9th intervals between the D~ and E, the F:! and G and the Band C. This major over major hexatonic can fit over many chords. For example, it can be played on C~7, A-7, D7, F0, B7:,9, Ep7 or E-7.

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Chapter 3

DESCENDING GRID: B/C Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

B/C C/Q CVD D E/F F/F~ F~/G G/A~ A/B~ B~/B

B/C EXAMPLE using the same melodic phrase from each starting note of the

C/O C~/D D

B/C EXAMPLE using different melodic phrases from each starting note of the

C/q q/D D/Et>

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.

--,

playing 8 notes of any hexatonic melody using the notes of the glid as starting notes.

B/C B~/B A/BiJ A~/A G/Ab n/G F/G~ ElF Ep/E o D~/D C/D~

t- e

7 ,~ ....f4=. :........~

t.

: Ii

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t. I II ,. ji--- !

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- ....""0 r-~ -= t. I '-" I I !I

i i .~.. i~ Ji..'t-:&==.. O:~- 0

EXAMPLE using the same melodic phrase from each starting note of the grid. B/C B'/B A/B~ ASIA

t-

EXAMPLE using different melodic phrases from each starting note of the glid. B/C B~/B AlB:> A~/A

I ~...9 ~ ~ ~ ~ ~~ I ~ ~ ~ ~ i~ ~~ I J ~~~ J#gt- - # tf # ~ ~


;. I

5

9

Chapter 3

APPLICATIONS

TUNE 5 (CD TRACKS 9 eT 10) IC

13

17 Djb DjE~ AjB~

(-7 F7

29

(7~9

This hexatonic when played over a minor 7,5 chord (0) sounds a ,9 and a n 3 which mayor may not be what you want. Try it, you might like it! On a minor 7th chord, the upper triad sounds the 9, :11 and 13. On a dominant chord, the two triads include the :9 and the ,9 as well as the: 11 and the . Like a blues scale, in the wrong hands this

TUNE 6 (PROGRESSION 1) (CD TRACK 11) IC

o

B~-7 EP A~-7 OP

F~-7 B7 E-7 A7

TUNE 7 (PROGRESSION 2) (CD TRACK 12) IC

FjG~ /. HjE /.

" E~-7 A~7 q-7 F#l

" B-7 E7 A-7 07

/. GjA~ /.

G-7 (7 F-7 BP"

Of course, improvising and using only one particular hexatonic sounds very onedimensional. Nevertheless, it is a good way to practice in order to make it your own. Try integrating this approach with other melodic material.

~ I

Chapter 3

Try progressions 1 and 2 with this hexatonic, too.


5 B


D

5

9

When played on a dominant chord, this hexatonic sounds the n3 and 113, as well as the ,9 and :9. Try anticipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. This is meant to be a particular sound and, of course, overusing it would be comparable to over-spiced food.

For the minor 7th chords you may either use the hexatonics given on the previous page or play any "regular" scale.

TUNE 5 (CD TRACKS 9 co 10) I B~ ~ .,

All! D7,9 All! D

All! D7~9 All! D7l19

B

' D G7 Ct-.

G

' F-7 Bi:t7 E-7 A7

D,.

All! D7t>9 All! D7~9

All! D7l19 All! D7~9

This hexatonic when played over a minor 7,5 chord (0) sounds a 1>9 and a : 13 which not what you want. Try it, you might like it! On a minor 7th chord, the

upper Wad sounds the 9, n 1 and 13. On a dominant chord, the two triads include the :9 and the ,9 as well as the: 11 and the yd, Like a blues scale, in the wrong hands this L'ould be devastating!

..

" I

Chapter 3

TUNE 6 (PROGRESSION 1) (CD TRACK 11) I 60

CjOt>

Ob7

B~-7

A~jA

EP

B7

TUNE 7 (PROGRESSION 2) (CD TRACK 12) I 6~

FjG~

Er7 A~7

B-7 E7

9 BjC AjB~ 7 z 7 , 7 z 7~_~L z 7 E r~_z 12 z z 7?Z 7 II

A-7 07 G-7 C7

Of course, improvising and using only one particular hexatonic sounds very onedimensional. Nevertheless, it is a good way to practice in order to make it your own. Try integrating this approach with other melodic material.

:~b TUNE 6 (CD TRACK 11) I BD

F jF# E~jE ~ie / / -zz -zz -zz -zz -zz 7 7 -zz -zz -zz -zz 7 7 -zz -zz -zzI E 7 A7 D-7 G7

DbjD BjC 7 7 7

7 Z Zi / -zz -zz -zz I -zz -zz -zz -zz -zz -zz -zz -zz -zz ~

F7 Bb-7 ED7

AjBf> GjAb ~

7 7 7~ -zz -zz -zz -zz r -zz -zz 7 -zz -zz -zz -zz 7 -zz -zz -zz II~

-, 7 Db? F# 7 B7

TUNE 7 (CD TRACK 12) I Bb

F#jG EjF 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Z 77 2 7 2 7 7 7 7 7 7 7 7 7 7 7 7tE'

_........ I I

F-7 Bb? ED-7 AD7

D jEb Cjq

~ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Z 77 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 - ...... I C:-7 F#7 B-7 E7

BbjB Al)jA,. 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 z~ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

_....... II

A. -7 D7 G-7 C7

When played on a dominant chord, this hexatonic sounds the: 13 and, 13, as well as

the ~9 and ~9. Try anticipating the dominant chord by playing the hexatonic on the

preceding minor 7 chord. This is meant to be a particular sound and, of course, over

using it would be comparable to over-spiced food.

For the minor 7th chords you may either use the hexatonics given on the previous page

or play any "regular" scale.

HEXATO.~~Zs I

13

... : A B,

TUNE 5 (CD TRACKS 9 enol I E?

A7~9

F~/G

Gl\

D

This hexatonic when played over a minor 7,5 chord (0) sounds a ,9 and a q 13 which mayor may not be what you want. Try it, you might like it! On a minor 7th chord, the upper triad sounds the 9, n 1 and 13. On a dominant chord, the two triads include the :9 and the ~9 as well as the: 11 and the 3rd . Like a blues scale, in the wrong hands this could be devastating!

29

,. TUNE 6 (PROGRESSION 1) (CD TRACK 11) I E~

(j:/D :/. B/( :/.,.

7 7 7 7 7 Z 7 42 2 2 Z / 2 7 2 I 7'If- B-7 E7 A-7 D7

,. A /B, :/. G/A, :/.

~ __ -4

G-7 (7 F-7 Bt>7

:;: 'G, :/. Eb/E :/.

--

~

,.

b-7 A,7 (~-7 F~7

TUNE 7 (PROGRESSION 2) (CD TRACK 12) I Eb

D/Eb :/. (1m :/. ~ (f .... 7 4 (-7 F7 BD-7 EP

:/. A~/A :/.

41 A,-7 Dt>7 F~-7 B7

F=IG :/. ElF :/. r

~ ..

E-7 A7 D-7 G7

Of course, improvising and using only one particular hexatonic sounds very onedimensionaL Nevertheless, it is a good way to practice in order to make it your own. Try integrating this approach with other melodic materiaL

:: I

5

9

5

9

Try progressions 1 and 2 with this hexatonic, too.

TUNE 6 (CD TRACK 11) IE,

D

TUNE 7 (CD TRACK 12) IE,

BJC

EP

GJAt>

A~-7 D07 B7

When played on a dominant chord, this hexatonic sounds the ~ 13 and b13, as well as the ,9 and :9. Try antiCipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. This is meant to be a particular sound and, of course, overusing it would be comparable to over-spiced food.

For the minor 7th chords you may either use the hexatonics given on the previous page or play any "regular" scale.

CHAPTER 4

The fourth hexatonic to consider is augmented over augmented, a half step apart.

EXAMPLE: B+/C+

B+jC+

~ I L #J r 13'j ]

This hexatonic is a symmetric one, so there are actually only four of them. B+/C+ is the same as E~+/E+ and G+!A~+. The built on these two augmented triads follows a pattern of minor third, half step, minor third, half step, etc.

-3 1/2-3 1/2

I) ... /C+ fits over the following chords: C/I,,7, /1,,7, Ap/l,,7, C/I" augmented, E/I" augmented, :h~ augmented, A-7, D7, 0-7, F~7, B,,7, HO, B7,9, B,o, >7,9, DO, G7?9.

Here are 72 difIerent melodies based on the hexatonic B+/C+, '+1+, G+/A>+.

-' I

3

r

ia-~~~~~~~~

-

11

J ~~q J#; oJ; JJ# J ~Jj~ Jff-] J)11 Jll)1 rf.q~t L. r r: L~ [ ;1 [I r [I. J J J l ~ J J .!

29

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53

55

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-;aUn3~JXJ, :JIJdd, JqOl, rlrl[# r14J JIJI[# [! f!f1 (01fi #$. :S ~ .. Cf! r# r~ [ [# r1 r!;dd! J, 3 Wdd 3 \J J J ~-'~ q ril~ ilq dd# @q J >:\!' qJ#J J~ JqJjP,:JdqJ! Ol~ J, ~-J--~J~!JI(1 C# [#;! E# rf-~ #~,:s 7 q q .. s JI~Jd, 31J J Jq 3, ~ Jd~J~ a JdqJqJiJdqJ~ Jd JJ \\7w, JI:J1JIJ ~dl [! F1 fJ1 [I 01[JI [1 f# fie [I f rf ::':57 .. . J![1f#F!J Jdd,3dd,J 3Jd J3d 1 f3 J] ~--~ ~q #;t~4 ~q;t .... ;sf= r J! ~J, J! Ol1[: J, J! JIer! rfr[a ofr[1 crt [[I r#: :5~ .. .

~.. :: . . 7t. ....

L:.

....

, ..

Ll

# ~ q

fjd#J#JeJ~~J Ji~Jd~J JhU! ~qj#j#3q J'I Jqt Eq~J! me r~ t\f J#L~ rqFffJd#J~~Jij 3~== # q q ~

E J# Jn~JqJ ~J#30dd~J j~j#J~ J9Jg~;#J:!Jrr#b E~~t=j ($ ~~

s

l ,

5

- I ......

: 'I I

DESCENDING GRID: B+/C+ Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

c- c - C+ C+jD+ D+ jE,+ E,+ jE+ E+ jF+ G+jA,+ A~+jA+ A+jB,+ B,+jB+ 1".

,

~.. I.... II

~ /7

7 tho

1". ...

..

~_.f'_.

"

~

i

+t ......

"

I

I

0

---+i

I


C~+jD+


C+jC~+ C~+ jD+ D+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.

ASCENDING GRID: B+jC+ Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

B+/C+ BI>+/B+ A+/B>+ A>+/A+ G+/A>+ F:+/G+ F+/F:+ E+/F+ E>+/E+ O+/E>+ 0>+/0+ C+/o,,.

~

-e~ ~ ~ ~ l'

:7:

,.

L

,.

L

v v ~,

,.

'", '",

~.

-.

-

-


B+/C+ B>+/B+ A+ /B>+ A>+/ A+

~ Ef f.!J' rlr LJ I rr nr iefr L~ I ej [ nrEIr FJ ~r H#[ [ F ..J I E EXAMPLE using different melodic phrases from each starting note of the grid.

B+ /C+ B,+/B+ A+ /B>+ A>+ / A+

, SJ j J N#J J I er LJ JiJd#J I jJd J#J JqJJ I jJ ] jqf],,,:

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.

. 1

-I APPLICATIONS

J(: TUNE 8 (CD TRACK 13) I C

G- A,- C+/D1+ (E1+jE+) G+/A~+ Gr+/G+ (A~+/A+),.

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7~(' / 7 7 7 7 7 7 7 7 7 7 7 7 I 7 7

,

A, \ B~-7 E17 A~f\.. E~-7 AP

C- D,- G+/A~+ D+ /E1+ /. (F+/F#+) 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 / / 7 / 7 7 / / 7 / / Z 7 / / 7

::), \ D0 G719113 C-7 F7~9

C- D,+ /. (E~+ jE+) D+/E~+ /. (F+/F#+),.

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7~ / / 7 7 7 7 7 7 7 7 7 7 7 7 7 7 B,-7 E17 C-7 F7

E-jF+ /. (G+ / A1+) D+/E1+ (F+/F#+) C+/Db+ (E~+jE+)

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

7 2 7 / / 2 7 7 7 7 7 / / Z 7 7~ ~

D-7 G7 C-7 F7 B~-7 EP

G- / A1+ C+/Db+ (E1+ jE+) G+/Ab+ G~+/G+ (A~+/A+) 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

7 7 7 Z / 7 7 7 7 7 7 7 7 7 7 7~ A, \ B~-7 E~7 A~f\.. Eb-7 AP

C+ /D1+ G+/AiJ+ D+/E1+ /. (F+ /F#+) 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7is / 7 7 7 7 7 / / / / 7 7 7 / / Z ~ G719r13 F7~9D,-" D0 C-7

C+ /D1+ /. (E1+jE+) F+ /F#+ /.

& 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 / 7 7 7 7 7 7 7 / / 7 7 7 7 7 7 ~

B,-7 E,7 C0 F7 alt.

C+ /D,+ /. (E~+ jE+) G+/Ab+ C+/D~+ E~+ jE+

& 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 / 7 7 7 7 7 7 2 7 2 2 7 7 2 2 7 ~

B,-7 EP Abf\.. B~-7 EP

The chords in parenthesis are optional as they create more of an altered sound.

c

,.,-

It

~ ~ ....

TUNE 12 (CD TRACK 17) IC - E,+/E+ B+jC+

. E.'.~5 C~#5

::; - / A,+ E+jF+

-\~\:5 F~~5

C- /D,+ A~+jA+

D,~~5 A~~5

F- /G,+ O+jD+

G':'i~5 D~~5

A+jB~+ F~+/G+

B,~#5 G~~5

E,~#5 B/,,::5

.. : I

""

. . ..~

./ TUNE 8 (CD TRACK 13) I B~

''Sb Hexaton Ie A+/B~+ D+/E~+ (F+ jGD+) A+ /BD+ Ab+/A+ (B~+/B+)

,7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 , {! 7 7 7 2 2 7 2 2 2 7 7 7 7 7 7 Chord B,ll (-7 F7 B,ll F-7 Bb7

5 D+/Eb+ A+ /Bb+ E+/F+ Yo (G+/Ab+)

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7 7 7 7 7 7 2 2 2 2 7 2 A7,9!>n G71>9Ebll EO D-7

9 D+/Eb+ Yo (F+ jGb+) E+/F+ Yo (G+/Ab+)

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 72 7 7 7 7 7 7 7 2 7 7 7 7 7 7 7 (-7 F7 D-7 G7

13 F~+/G+ Yo (A+ /BD+) E+/F+ (G+/Ab+) D+/Eb+ (F+ jGb+)

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7 2 2 7 7 7 7 2 7 7 2 7 2 2 2 E-7 A7 D-7 G7 (-7 F7

17 A+ /Bb+ D+/E~+ (F+jG~+) A+ /Bb+ Ab+/A+ (Bb+/B+)

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 7 2 7 2 2 2 2 2 7 7 7 7 7 7 7 Bbll (-7 F7 Bbll F-7 Bb7

21 D+/Eb+ A+ /Bb+ E+/F+ Yo (G+/AD+)

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 7 7 7 7 7 7 7 7 2 2 2 2 2 7 7 A7,9,n G7 b9Ebll EO D-7

, 25 D+/Eb+ Yo (F+jGb+) G+/A?+ Yo

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7 7 2 7 2 7 7 7 7 7 7 7 7 7 7

(-7 F7 DO G7 alt.

, 29 D+/Eb+ Yo (F+ jGD+) A+/Bb+ D+/E~+ F+jGb+

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 2 2 7 7 7 7 7 7 2 2 2 7 7 7 2

(-7 F7 Bbll (-7 F7


TUNE 12 (CD TRACK 17) IB, /I"~ --S'

-' .. : F+/Gb+ O+/D+

.: G~A~5 DA~5

;- /B,+ F~+ /G+

3",\::5 GAtS

:,)- /E,+ B,+/B+

l. If

--.. E~.\:5 BA~5

-::::-/A,+ Eb+/E+ If

~ ..;;..~..

;~'l.:5 EA~5

3- /C+ Ab+/A+

4,. If

.~-t C'l.:5 AA~5

E-/F+ C+/DD+ If

&-- F.\:5 DDA~5

Chapter 4


Hexatonic

-7Chord FII -7 7

5 A+ jBb+ E+jF+ B+jC+ Yo (D+jE~+)

A-7 D7~9

D7

D

(F+jG7t)

F7

alt.


TUNE 12 (CD TRACK 17) I E~ ,-t1:bC+ jDb+ Ab+jA+ D,~;5 A!:J.~5

- F+ Cl+jD+ :z z z -:::z. -:::z. -:::z. -:::z. -:::z. -:::z. -:::z. -:::z. L z z L L L r. 2z L r. L L L L r. =\:5 D",~5

:.- /B,+ F+jG~+

3~~::5 G~",#5

J - / E,+ B~+jB+

:.:' \::5 B",~5

=:-/G+ Eb+ jE+ ,.

G \::5 E!:J.~5

3- /C+ G+jA~+..

, 7 7 Z 7 7 7 77 7 7 Z ~~+ / 7 Z 7 7~ I.,

C\::5 A7",~5

CHAPTER 5

The fifth hexatonic is two major triads a tritone apart.

FVC

~~ ~ r #1 : ~J f This hexatonic creates part of a diminished scale and could be used over C7, H7 or A7. Played on a C dominant 7, the hexatonic spells out the root, ~9, 3rcl, n I, and 7'h of the chord.

on a C7 on an E?7 on an F~7 on an A 7

t.. ... ~... ... ~... ... ...~ root ,9 3 ~11 5 7 13 7 ,9 :9 3 5 :11 5 7 root ,9 3 ~9 3 5 13 7 -9

Again here are 72 melodies based on hexatonic.

.. -I

, j J 3#3 #; #3 j J J#J#3#J J J J#J# [ # F Fi F

11

-~====--

Chapter 5 Hie

W1 *r #[ #[ ~ I 25

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27

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~.--~.--

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7

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3

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Go

-

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-

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3

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, ,. .. ..

..

, .,

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11 ,. ~

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.."........

~'~I~~r~~~~!mr~f~e~~f*~flr~f!~r~'~...~~Imr~'r~r~rr~~f~brm~j~J~oJ:~J~J~~~~~~~~~~~i~~-~fqr~rbE F

,81# Ei rlfrqr f [ Frfrt rF j Ja~bE r fJ Jd ij3:j:

9 ~ .

,'#~ ef ES~[ frr~f~f (1 Ctr'F: r r9 i'F JJjbJ qJ J J JaW ~ c ...."i-# -i J.JbJ~J JJJqrbr Fi:r~rT [lEi E[~rr~f f f!~U :

I

DESCENDING GRID: F;jC Try playing ::5 notes of any hexatonic melody using the notes of the grid as starting notes.

G/D~ A/E:> B/F E~/A F/B

f)

~

If)

I

f) ...........

1'1

f)

i

f)

1'1

f)

G~/C

G~/C

" v

fI'U'

_.._..

-

=i -

.

v

9

-,

EXAMPLE using the same melodic phrase from each starting note of the grid. G/D~ A/E~


A~/D A/E~


ASCENDING GRID: F;IC

Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. ;=/C FIB E/B~ E~/A D/A~ D~/G C/F~ B/F BolE Alb A~/D G. D'

~~~~~~~~~~~~~~ ~ ~

~ I l+ ,... I I I

~e- .. ,

~~~~~~~~~~~~~~~~=;= ...


=: C FIB E/B, E~/A

~~ lJ#J11J ~ IJ3JJ#J JJ I iJP JiJ1J J I~iJd JJJr- ~ -


=: C FIB E/B~ E~/A

~

It

:\1so, 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.

. : -I

c

9

17

21

,.. '" :::

APPLICATIONS

Try using major triads a tritone apart on tune 8 over the dominant chords.


Hexatonic AjE~ (F~jC) DjA~ (BjF)

Chord

5 BjF (A~jD)

AjEb (F~jC) BjF (A~jD)

13 BjF (A!7jD) AjEb (njC)

G7 C-7 F7 B[1-7 Eb7

Ajb (F~jC) DjA~ (BjF'

DbjG (B~jE) BjF (AbjD)

(-7D

AjEb (njC) BjF

alt.

29 AjH (F~jC

Hexatonics in parenthesis create a higher non'""", of tension.

B~ TUNE 8 (CD TRACK 13) I B~

B/F (A,/D) E/Bb (m/G)

e~~~~~~~~~~~~~~ 3,\ (-7 F7 B~1'l F-7 B~7

Eb/A ((/F:) Dt>/G (Bb/E)

A7'o9'D13 G779~.\ EO D-7

B/F (Ary/D) Dp/G (B~/E)

(-7 F7 D-7 G7

Eb/A ((/F~) miG (B~/E) B/F (Ab/D) ~

~ -- E-7 A7 D-7 G7 (-7 F7

B/F (Ab/D) E/B~ (m/G)

B7~ (-7 F7 Bb~ F-7 B~7

E,/A ((/F~) Dr/G (Bb/E)

It b~ EO A7~9b13 D-7 G7r9

B/F (Ar/D) Dr/G

t.. (-7 F7 DO G 7 alt.

B/F (A~/D) B/F (Ar/D)

(-7 F7 B711 (-7 F7

Hexatonics in parenthesis create a higher degree of tension.

139 1

Chapter 5 --------,

TUNE 8 (CD TRACK 13) I H

Hexatonic G~j( (EDjA) BjF (A~jD) 7 Z 7 7 7 7 Z 7 Z 7 7 7 7 7 7 2 7 2 2 2 2 7 7 7 7 Z 2 7 7 7 2 2,e

Chord FL'. G-7 (7 FL'. (-7 F7

5 B~jE (Gjm) A~jD (F jB)

, 7 7 Z 7 7 7 7 7 Z 7 7 7 7 7 7 7 2 2 7 2 2 Z 2 2 7 2 7 2 2 7 7 2I E7~9~13 D7~9B~L'. B0 A-7

G~j( (E~jA) ArjD (F jB)

, 9

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 Z 7 2 2 2 2 7 2 2 2 7 7 7 2 7 7

G-7 (7 A-7 D7

13 B~jE (Gjm) A~jD (FjB) G~j( (Et>jA

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7,7 2 2 2 2 2 2 2 2 7 2 2 2 2 2 7 B-7 E7 A-7 D7 G-7 (7

17 Gl>j( (E~jA) BjF (A~/D

, 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7 2 2 2 2 2 7 Z 2 7 2 7 2 7 FL'. G-7 (7 FL'. (-7 F7

21 B~jE (Gjm) A~jD (F jB) 7 7 7 7 7 7 7 7 7 Z 7 z 7 7 7 2 2 7 / 2 2 2 2 2 2 7 2 7 2 2 2I~ E7~9~13 D7~9B~L'. B0 A-7

25 G~j( (E~jA) A~jD 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 ~ 2 2 2 7 2 2 2 2 2 2 2 2 7 2 2 7I

G-7 (7 A0 D7 alt.

G~j( (E~jA) G~j( (E, :.29 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 ~ 2 Z 2 2 2 2 2 2 2 2 2 2 2 7 7 7 4

G-7 (7 FL'. G-7 (7

Hexatonics in parenthesis create a higher degree of tension.

The sixth hexatonic is two minor triads a whole step apart.

EXAMPLE: D-/C

D-jC

~~ =teE -r:: rJ This is a very common hexatonic and can be used over many chords. For example, D-/C- fits over C-7, F7, A0, bl'l7 and B7 altered.

:

.. "..., 'r

,

.... ....

'"

D-/C

,'., i j - Jj JJ J JJJ J f JJ Jcr fJ j ~ rJ r

,3~~ iJ j J i JJ'3 i JJJ i J J ; [ r E~ [ Et ~ F

7f ...P"'... l IJ ITI.

=4 ~6 JJ J JJ J J r = r r ? r .~

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tt

~...~..

mm

tt /' ~ J J oJ .. ~. r LFr ~ _~ j 5J JJ J J. s. J JJJ OJ JJJJ J i -: ; " . ~

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Chapter 6 D-/C

4 J LJ J J J J r r r j E: F tJ

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Chapter 6 G#-/H

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-l ' , J 3 d ].. C C r sm : r r@in rf~ J J........ ~ j ~ j [ ....... ~ r F ~ r E ~ ....... .......

~6 [ f f; r Gr r [ r r F E[ r; JJ J JJ~ ~ J

I 7 rJ.l - - CI r:i _ -- .......... ~ ~ I if#tJ .,

~" ; JJ :J J J JJ E[ rFeE [i CEE! Ec Eef f f nE1

f f f f; C f f r r cr8E[J [ r(1 JJ JJ}J JJ fJ II

=-. : : :3" [ e rJ [ FEr J JJ ] J ] J Ji j JJ J JJJ!, -+1 J JJJJaJ] 11 aJ i J JJ erE F [ f c,t E nri': 1? ~ n :J f f rJ [ f [1 Err r fJ JJ n ] Ej JJJJJ j J:,'

6

J J JJJjJ J~ J JJ Jr [ r .. :5 .. J [ [ [H ~ fi .~ L rnr rf 8E rf~JJ J J J~::J j JJ ill J3-=0/ JJJ J JJ J J JjJ J J : r j r j rErE [~

f

j E f b~ ~J JJ JJ J ] j J JJ j EJJJJ J31t

1

DESCENDING GRID: D-jC-


F~-jE- Bl,-jA,- B-jA- C-jB~- O-jB~ ......

tJ v~ '-J

~...

tJ '-,

,

----t

tJ v :fI" " ! ,

,

tJ

'"

tJ "

1\

tJ

EXAMPLE using the same melodic phrase from each starting note of the grid. D-jC-

EXAMPLE using different melodic phrases from each starting note of the grid. E-jD- F- jb-

Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic 1 bar, 2 bars or 4 bars each.

ASCENDING GRID: D- jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

D-jC- C-jBb- B-jA- B,-jA,- A-jG- A>-jG,- G-jF- E-jD- D~- C=,..,

-,

f)

_ fl

u

,..,

-

4t

I

t)

,..,

u

,.., -

u

e ~e- V 'OJ' 'OJ'

--

'OJ'

e

-

D _.

.'

.,

-'"'. 1+ "'.

EXAMPLE using same melodic phrase from each starting note of the grid.

D-jC- G-jB- C-jBr

D-jC-EXAMPLE using different melodic phrases from each starting note of the grid.

C-jB,!""


. I

c

9

APPLICATIONS

Try using this heaxatonic on tunes I, 2, 3, 9 and 10. Please note though, that any of the hexatonics can be applied to any of the tunes and progressions in the book.

TUNE 1 (CD TRACKS 3 f27 4) IC

A-jG- G-jF- D-jC~'~~/~~Z~Z~~/~~7~z~~/~~r~=--~z~Z~~/~~z~Z~~/~~z~z~~/~~I~~/~~z~Z~~/~~z~z~~1.....

C7sus B,7 sus F7 sus

TUNE 2 (CD TRACKS 5 f27 6) IC G-jF

..=z. J~Z~Z~ZJ~ZL]Z I ,-'///~t~l.~7J~Z~ZI~/I~Z+..~.......................l............=-7....../ ?~Z ?z~/ ~z~z ~z Z J J J I~~:;: f f f f : _ ~ ~ L .. f~ ~ ~ : f f , , : ' f f 'z..::~~ , L f f f B:>7sus

sus

G-jF7 7 7 7TTLL TZ TZ TTTZ 7 -' .7 Z,2 , Z 7 7~ 7rrL2 rrrz Z TTZ L ,7 2 B~7sus

25

TUNE 3 (CD TRACK 7) IC F#- jE- G-jF- 'Hiili(

:7 :7 :7 :7 :7 :7 :7 :7 :7 Z :7 :7 :7 :7 :7 :72 7 7 7 7 7 7 7 2 7 2 2 7 7 7 7~Il E-6 9 E 7 alt.

B-jA- F-jE~-:7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 Z :7 ~ 7 7 7 7 2 7 7 2 2 7 7 7 7 7 7 7 A-7 D 7 alt.

A-jG- D-jC-

Z :7 :7 Z :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7~ 7 7 7 7 7 7 7 7 2 7 2 2 7 7 7 2 II G-7 B 7 alt.


G-jF- B~- j AD- F-jE~- A~-jG~-

&e :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :77 7 7 7 7 7 7 7 7 7 7 7 7 7 7 / tJ

DO G7D9 CO F7~9

E~-jm- F#- jE- C#-jB- E-jD

:7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :77 7 7 7 7 7 7 7 2 7 7 7 7 7 7 7 tJ

B~0 E~7~9 A~0 m7~9

B-jA- D-jC- A-jG- C-jB~-:7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :77 7 7 7 7 2 7 / 7 7 7 7 7 7 7 7& II

tJ F#0 B7~9 EO A7~9

TUNE 10 (CD TRACK 1S) I C

A~-jG~- B-jA- F#- jE- A-jG:7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7

7 7 7 2 7 7 7 7 7 7 7 7 7 7 7 7~Il E~0 AP~9 q0 F#7~9

E-jD- G-jF- D-jC- F-jE~-:7 :7 :7 :7 :7 :7 :7 :7 Z :7 :7 :7 :7 :7 :7 :7 ~ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

B0 E7~9 A0 D7~9

C-jB~- E~- jDD- B~-jA~- G-jB:7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :7 :72 7 7 7 7 2 7 7 2 2 2 7 7 7 7 7, II

GO C7~9 F0 B~7~9

- .

, 'I

Chapter 6

TUNE 1 (CD TRACKS 3 er 4) I B~

TUNE 2 (CD TRACKS 5 er 6) I B~

17 O-/B- n-/E- B-/A- E-/D7 rz 7 7 7 ,77 7L7~rTTZ TZL TTLZ77 77 7/ 71 TTZ7.t'l ..TT Z TTTZ71 7

E7 A7 D7 sus G7 sus

25 A-/G

(7 sus

TUNE 3 (CD TRACK 7) I B~

F~7 alt.

4

B-7 E7 alt.

'- A-7 C::7 alt.


EO A7~9 DO G7~9

A~-jGb- b-jD,

'- CO p D9 B,0 Epb9

E-jD- B-jA- D-jC

'- G~0 q7~9 F#0 B7 b9


F0 B~7'9 E;:I0 A,7~9

C~0 F~7~9 B0 E7~9

D-jC- F-jEI>- C-jB,- b-jD,

A0 DT,9 GO C7,9

.-, I

25

TUNE 1 (CDTRACKS3eT4) I E~

TUNE 2 (CD TRACKS 5 eT 6) I El>

O-jB- F~- jE- B-jA

E7 A7 sus D7 sus

E-jD-

G7 sus


D

E

TUNE 9 (CD TRACK 14) I E~ E,

, B0 E7~9 A0 D7~9

' GO C7,9 F0 B~7b9

' Eb0 Ab7~9 C:!0 F~7~9


CO F7~9 B,0 Eb7~9

B7 b9AbO D?7 b9 F~0

EO A7~9 DO G7~9

CHAPTER 7

The next hexatonic is major over minor a whole step apa11,

EXAMPLE: B~jC-

BbjC-

You can see how this hexatonic is commonly used because the B, triad starts on the

7th of C minor and spells out the 7tll , 91h and 11111 of the C minor chord.

B,/C- can be used over F7sus, E,~7, A,t;.7, F-7, B,7sus and AO.

'I

1 ~i1 j J Ji JJJf JJ : ~ .'-. i

2 c rFf ( FPi F ~.~~~~~~....... '

'0 [ r r f r r F F $"ECEr[rc-

OJ tEcfrCcErf "J

27

29

~ ~ ~" i J J J J J J j [ r L f : r r; E~ ~ ~ ~

./I..

,35 1 I I I I I J .II.. _

U .. l J I I I l ...J e, 1\ ('!:. ~ . I I I I J

u 1 i I I I I I

I..

r [ rf E [ ffi r J J J ] j J J ] J J J J ~j

G-C f r rEf ~ i J J~.J J r J JJc' , mmmmmmmm mmmmm iF} J 1c:v FJ JJJ JJ4J j J ] J J f-r f r [ r~ LV r [ F r f J JJ ] j J J JJ J J J J JJ J ~, OV

6f.

; n J JJJfJ JJfJ JJi j JJ J JJJ~ JJJJJ JJ4:'

Lf.

51

53

B,

. - I I r

l J I I l I I I

~ '" i-~ j iF L I I I I 1_

~) kf [ C-f Er:rf=r=tff [EJ t [ [;-f~"-r~r~f~~~-~5:~ j 113 OJ-B J1J=1 J Jfif~~ J Jfc rrl-i] JJ- 0'_"

~5:~ eE(1 L E ..; rr r: rGr; (-[ fJ Lt bJ [~r; n ~5;~ ~l J JJJ JJ f J J ill f J J l j J JJ [ r l f

~6;~ L rEf rf r; rEr1 L r f f [ [ l i rf r1

1-.

I~ ::g 8 [ rf [ E[1 r rr~ fJ JJ JJJJ fJ J) dJ ~ J9: ' L l' ,

.. n i; ~ J f j J J j JJJ rru' r rr E CFfiE r M: ~~ .

- r-r I I -I I r ..........~

................ -..

II ., .... 89 \I

---

..... .. 8: J3J J ] ] f J:i:l:jJ JJi JJJ J JJJ ~~, . Cmmmmmm G [ E} _. -.. 99 ,,",

,.--------------------...

~----............

.---------------------..

-..

5

B;>/C

=t:, i J ] J i J ~ ] j JJ JfJJ JCE r-J Err -; r

t~h jJ JJ fJ JJ iJ J ) : j JJ [ r pi Er [1 F

+h f IT err f if r IT j E [ EF; E f c! ( [ F; F

+= i3 ]J fJ j-~ j JJJ Err; EE [ ; r rIT o~ CEtf e; "~h Ei crf IT [1 E rL r EEEJ r err ij Jj JJJ ] 1 "- ~J'-~ EJ'-fEc;el'~h j J3J f JJ J L [ [1 C F [ tee dt t r ;;j "~h EIT rrCEfj EErf [ rE:i [ [ rJ JJ3J~~ JJ JA II

J j JJJJ Ji EJ J-,; : H JJ J JJJj ill dg \? ~

7

4'.'? CCj JJ j JJJ j D:J Jf j JJfJJ JCE r! F

11

3

t~~~~~~ f Bf 7 ErLt [ f r t [ r r J JJJjJ JJJ 7 ~~~~ jJ J3J J ~=~~~~~~~~~~ 8 '~~~~~b IT lIT..! ErPi [rFJ r f U i ] JJ J JJ ] [J J~~;J.~ 9'~b&~~& JJ3JiJ JJ J JJJ E [ r-j' t [ ftC; rIT; Lf rf ff

--

,._.................

f!:./L-j~#~1 f] n ruler fit; j J JFfO U ri l I f-U itb r[-(oJ r ~ fj ( FG E} tt J~J Jl E [ FJ fJ JQJ

I .....

LL

r ~ J ~ ~ ~ -EEEr[~ rf -~ j ~ J J J JJJJJ1JJJ if!

j J] J3Lr LJErr T [ r rf FFrF [ F E f #1:, ,?=

..................

~~~~ ~"F E~fft~U,~# JJJJJ ] JJ i (F ric [1 E ,'#11 Ct ff C j r ; L~ E f [ rrJ [ ErJ j JJJi JJJ tJ II

# J j JJ

11

I

I .

:... Er F j [ rrf J Jj Jj JJJJJJ Jj 4J JnJ~ ~,'

fJ 14 J) iill J) J j ] J:fl JJ~ r[; ErtlE rEi #6' [ J Cr [J J j JJ1JJ JJ j JJd J a ] JJJJ Jl] J#a' t J fJ J5~JJ J J ; j J r E [ r JJ J3 ( b[; cE ri-;

F J J ] J ~J a j J J3fa JafJ J1JJJ~ ~.~

J ~J J ] J J J J J a J J j J aJJ J ; JJJ JJ#r'

3

D

~' j J J J iJ J J f j JJEr fJ Err J : ErF r

~9 J J J J ~ J JJ f L r r r Eri r [ EmEIT f& rEf fU

~'0Ef f f ff Fr r IT rr ErE; EFrf J JJJJJj Jfj

11

LL

== oJ J J JJ fj J3 J JJJj JJJ i J JJ JJ J~ ~,

6

DESCENDING GRID: B~/C-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

B/C= E/F= A>/B~- A/B


B~/C-


Bb/C C/D-


ASCENDING GRID: B~/C-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

B~/C- A/B- A,/B~- G,/A,- E?/F- D~/E,- C/D

.1

Chapter 7

APPLICATIONS

Apply this hexatonic to any of the preceding tunes as well as tunes 13 and 14.


Hexatonic BbjC- (FjG-)

TTL rZLL rT777rTL7 7 7'T.. ? "' 7 ZTrTZ , , , 'I 77ZZ Z7271 ,772, 'I ZZ~{l Chord C - 7 Dorian

B~-7 Dorian

9 Ai1jB~- (E~jF-)*,-,7 'I '7 7 71'Z,T rT,' rTTZ 7 rTZ //// rTZL

17 7 'Irz T7 TTTZ A~-7 Dorian

25 Ejn (BjO-)

F~-7 Dorian

33 0 jE (AjB-)

41 CjD (GjA-)

D-7 Dorian

9

:liiIi ~.

TUNE 14 (CD TRACKS 19) IC

rlexatonic B/O- (F~/G~-)

Z 7 Z 7 ~ z z z z ~ 7 Z Z 7 z Z Z 71/// 77/ / I / / ZZtt77J / Chord C#-7 Dorian

A/B- (E/F~-)

Dorian

/F- (B~/C-)

=z=.L..~ =z..:z.~~ , , ,--.L 77 " " [ ..............' , 7 7 t "r l ,.. 7' 7' FT---Z-~" -7 J 7' , , '--L eLF, LE... rr TLL r z~ m

4 F-7 Dorian

Db/b- (Ab/B~-)

,--Z~z-7~7 7 7 7 7, L Z Z Z/-T , r ,7LTTTL TTL.' , , ... z z z z z=7:T7 77// 77" ...J.;=~ Eo-7 Dorian

. " -I

9

Chapter 7

TUNE 13 (CD TRACK 18) I Bo

Hexatonic CjD- (GjA-)

Chord Dorian

B~jC- (FjG-)

C-7 Dorian

Dorian

25 G~jA~- (mjE,,-)

Dorian

33 EjF~ (BjG )

//

TUNE 14 (CD TRACKS 19) I B~ Hexatonic D~/H- (A~/Bl>-)

Dorian

A-7 Dorian

E~/F- (B~/C-)

F-7 Dorian

,~ 'I

17

Chapter 7

~. TUNE 13 (CD TRACK 18) I E~ (;~;

,~~ Hexatonic GjA- (D jE-)

Chord Dorian

9 FjG (CjD-)

G-7 Dorian

(B~jC- )

Dorian

25 mjE~- (A~jBo-)

E:>-7 Dorian

33 BjO (F~jG~-)

41 AjB (EjF#-)

Dorian

-...~ Ao/ B,- E~ te~7~ =""" ~~~~~~~~..

~ B,-7 Dorian

G,/A,- (D,/E~-) II>

~ //2- A~-7 Dorian

E/F::- (B/O-)

~~ F::-7 Dorian

D/E- (A/B-)

.~ E-7 Dorian

C/D- (G/A-)

~ D-7 Dorian

BD/C- (F/G-)

tC-7 Dorian

CHAPTEH 8

The next hexatonic is one of the most unusual ones~ It is two minor triads a half step apart and can be used over many chords.

EXAMPLE: B-/CB-/C

~ f ~ B-/C- can be played over A-7, A0, F~0, F7, A77, B7, D7 and E?ll.7. Of course, context is everything! On some of these chords we are allowing much leeway. 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. On an F7 chord, it sounds the :9 and the 79. Played over it sounds the :13, :5 and :9. On F:0, this hexatonic includes the ,13, q13 and the ,9. See also Chapter 9.

ChapterS B-/C

,4.. Ef-t r'E ~P(;-=-cE f [J e~Lf E f f] ,L~IJ #J j

s_.Lj Ad J f r [ r!~!r ~ j~ r

~.6 C =E~r IE E t r ~ f ~ E 2ErE r] " ! ~ ~ ~ f J ~ AJ ~ A ~ f r,.' J J JJ#J J j J ; SA #= = r ~ f ~ ,'~, [ E IT t,~ tEE f ur "l IT r Frqr-r r rOr .. ,

.. ,

~~.......................

=====.==.

I .

-.........

c # mm ~ ::r I."C:

=-~-==~~~r=::r-m~c~rq~t~j~~q.~rJ~~~J~iiJ~a~Jg~;J~=:j~.~iJ~i~J#~J~J#~JJnJ~J~9~~< ...... .. ~ J d j ~ d~ 1 .~. ?G---

25

,2;~ -f j ~ 3i&J J5erEpIa ~ 3r r*r Pc Erf t9p *(; r

i IT f F; [1Ft; [F rj' (r CF jJ~JiJJJ ~J 11JO:

29 ~ ~ ~t!:ltl' ,.m '~b 11 ~J JJ J!J ~j c Fr! F 5r r r LE- ~ F

-1\ 35 1 !""" ~ .. I

.I

tJ ..

.~!iIt~_i -I i l~_ L 1 i ' I I I

-

11m $ q it ................. LV

6

L

49

53

B-/C

69

~IJhJIJ1~i~~J~;~~i'~~~~~~~~ I miD iii J~Ji;~j J1J Jcrr~ ~[/r~F crlff E[#r;IC r[j~

!ij J+J 3, J 31DBro 3 ] 1 In JJ J ~~, 1< U#[c FW ~.......~ .. ,iii ~".. :; .. '1fJ~ # ~ 99

t9

mmmmJJ ~I #m [c r} .

.-. .

a~[ [criEr [1 lJIJ JHjq3 j jjq 3fJJJqJqJJl~q:,' ~1ld j J 3td JJ-Jd JJ JJrJq] c [ E-r~c E Efft: r [ qq~~ .

.~". I I I

I

q] ~~-= r[! r r4 r fW JI d3 Jq J J J J Jill J ~J~ ~ f'lJ:t q d(Jq J rJq 3 JJJJq 3l 3J J[I IT r~ [ F~ r; ~.

'....d

L

L

I

J43 J~J iJ J)Ud Jar 0E:I'~t JJ [ [Qr;!E [ rJ~~\4i L

c:

j RJ J!3q j 3JEri Fry rr [} [ r~ Ef~ Er[; iNi OJ

..

..

3 II I - 1""'--"""'1

I I J.......I Ii.-i-_

11

I :

[; ~'.:.z:ti*~'i-~~~~~~~~~~~~~~~~~ q ~ --....-.J. J~U-=t Ja~ J~ J#~ JJ? J~ J~ J4J~ Mig J4JqreF!fq @r~E; #1#11, , *: *~*c ~~ ~ ~ II ;}r[ E [!f~ E! r[j! ~jb JlJdb JqJ JJd~;b JJJJA JJ]#I#II~,'

Jq~JGJ~~~~~~~~~~~~ rt~ [I [I r erqr r Jd4JqJ J4J4J# J Jdd*J d~d J #1##1 ' q 9

q ~ q

JriPA3.J Jd J~Jd~c r r~IC!rlrtIE rr-r #Ib' E

.. ..

-

L.

I' :r:r [Iild1~ JAJ1MJ Jdd~J j Jd~~g J3d~g~g J ##ti ;--1 Jj J1 iJ~ JJfJ~Jp iJ~ JP~ErrU"~ r~ r r r C

grqf f ##n i .~:;tLl ~ :;t~ ~ ~ J ~~ ~~L ~. ~g r +l ~ J ~ 'il ~ kl L L hpC F hI t:~r~PJ .~~~ ~ oJ JP~ J J~J~J J9##!l JTJiJj j~J]g JJ J~M Jj Jd~J f f f! f~C r fiqE~r rr###6i r C~ r

qcr B [ r-~[1 C

qUj JJ~ J~ E [ r-i JJ~ j~ j J ] J##n i ----I...-IJ -J ~ 8

J JUdi jJ j j1J~Jd j L [ [~r~cr pi [nipc f cf bLi r [qcqc [ [qr1f f jd~J J Jd~J j jd) J Jd~9 J #\i

F i ! -,>

7

9

11

L t@#J J Jg#J J#J JJJ#J,J i J~J,] J Jj,] E'f r; E,eF! t' E ~rE f IT; rr [1 II] J JJ J#Ji3 Jj J3#J Jill J#J

C:-/D

~~ ef#f E~,7 i ] JJ#J,J JJ E: r rp['f FFr [#cP ( IT r ~8 L ( F; E#f #f; ErE ~ r#f [1 JJ,;J [ rEJ ~ ,J #3 J ,9 JJ J,3 iJ J J#[ 'f Fr [ r#rJ r Pc r LELS#E f FE cr f t f fS [ L E; #r #( Er LE#[; rt #r r J J jJ#J JJJm

~" i JJ,J#J JJ,JI'E [ fiE r#f TLr#[ Eer!f f f f~ U ~""- f f#f#E f ef #[ E IT ef Prj [ f#r!! E [IIF If JJJ,3 i#J -=1

#

J \ J# 3 J# f JJ Jen L[1 cEt ; LEll [!p EF1 ~,

DESCENDING GRID: B-jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

3 C C-jC- C-jD- D-jE, E,-jE- E-jF- F-jF~- F~-jG- G-jA, A,-jA A-jm- B,-/B7 ---'--

.

I'

'-. "_l'

t.

'-.

1'. I

'-.

1\

fJ

,.,


B-jC- C-jC- C-jD- D-jE,

~ Er rtr IT r rT IE r rT~E#r rj IJj JJ~E#r ri IJ] JJ~er rI EXAMPLE using different melodic phrases from each starting note of the grid.

B-jC- C-jC- C-jD- D-jE,

~ E~E f; J J J#J IJd JJ,:J#Ja J Ic~ U~cr rf If r f/c'r"U 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.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

ASCENDING GRID: B- jC-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting note".

C,-' ~B-/C- B~-/B- A-/B,- A,-/A- G-/A,- F=-/G- F-/F=- E-/F- E,-/E.-... -~-~-_u

:=::z:n::

---e---~

..."

I II I I I !I ,.,

~..- .. ..~ ~.. ..~'r---.. ...... =hn= i

U Ii i

II -. ...... ----- .---... ~~ ..a--... "0 .... ... ! .

.1'1

EXAMPLE using the same melodic phrase from each starting note of the grid,

B-/C- B,-/B- A-/B,- A~-/A-

~ , ~'~1 ~ ~.. :..TLrJtt=~-=====jwJtt~tlB=t-@ .

EXAMPLE using diflerent melodic phrases from each starting note of the grid,

B-/C- B,- /B- A- /B,- A,- / A

t J ill JJAft] I, gJ}FJ. g;J tiJd J J JJ3 Ik~~..~ ~ *~ D; ;~ ~q ~ ____=t==;=' 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,

I

APPLICATIONS

Try using this hexatonic on tunes 6, 7,9 and 10.


'C

(G-/A,-) (F-/F~-) C:-jD- O-jD- (E-/F-) B-jC- B-jC- (D-/E~-)

7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 Z 7 7 7 7 7 7 7 7 7 7 2 7 7e ,7 I I ~ D-7 G7 C-7 F7

(E,-/E-) (O-/D-) A- jB,- A-jB,- (C-/C-) G-jA,- G-jA,- (m-/B-)

& 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7,7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7I I ~

Br7 EP A7-7 DP (B-/C-) (A-/B~-)

F-jF~- F-jF:!- (A,-/A-) E,- jE- E~- jE- (F~-/G-) 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 72 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 ~

F:-7 B7 E-7 A7


, (A,-/A-) (F~- /G-)

D-jE>- D-jED- (F- /F:!-) C-jC:- C-jO- (E~-/E-) 7 7 7 7 7 Z 7 7 7 7 7 7 7 7 7 7e 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7I I I

tJ E~-7 AP C~-7 F#7

(E-/F-) (D-/E~-) B,- jB- B~- jB- (C-/D-) A,-jA- A,-jA- (B-/C-)

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 ~ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 B-7 E7 A-7 D7 ,

(C-/O-) (BI1- /B-) F:-jG- F:-jG- (A-/BD-) E-jF- E-jF- (G-/A''J-)

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7I :1

tJ G-7 C7 F-7 BP

TRACK 14) I L

(0-. E,- f:- ~:-

/0-'

~I B E


F-jFt- F-jF~- (A,-jA-) Eo-jE- Eo- jE- (F:- jG- \

E~O A,7',9 F~7~9C~O ~

C~- jD- (E- jF-) B-jC- B-jC- (D-jE~-\

E7~9 AO 07~9

B7- (C-jO-) G-jA,- G-jA>- (B~- jB- i

=1 GO C7v~ FO B~7t>9

TUNE 6 (CD TRACK 11) I B,

B-jC- B-jC A-jBb

(G- j A~-)

(C-jC-) (F-jF:-) (D-jE1-)

E,7C-7

(C~-jD-) (B-jC-)


(B1-jB-) (Ab-jA-) (G-jA,-) O-jE, O-jE~- (F-jF~-)

B[,7 Eb-7 A~7

(FIt-jG-) (E- jF-)

(D-jE>-) (C-jC-) (B-jC- ) F~-jG- F~-jG- (A-jBb-)

07 G-7 C7


'"' E0 Ar 9 D0 G7~9

~

'"' C0 Fl,9 B~0 E,71>9

B,-/B- B,,- /B- (C-/D-) A,-/A- A,-/A- (B- /C-)

~j '"' G#0 C~7~9 F~0 B7,9


F0 B,7~9 H0 AP~9

Q0 B0 E7

D G C7

5

Chapter 8

TUNE 6 (CD TRACK 11) I Eb

(E-jF-) (D-jE~-)

(C-jC-) (B;,-jB-) F#-jG- F~-jG- (A-jB,-) E-jF- E-jF- (G-jA,-)

G-7 (7 F-7 Bb7 (H-jG-)

TUNE 7 (CD TRACK 12) I El> (F- jF#-) (E,- jE-)

A-jB,- A-jBo- (C- jD,-)

B~-7 Eb7

(C-jD-) (B-jC-)

(A-jB,-) (G- j A,

TUNE 9 (CD TRACK 14) I H ..,

O-/D- O-/D- (E-/F-) B-/C- B-/C- (D-/E?-) 'E='Il 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7rTTT rTTT rTTT rTTZ

B0 E7~9 A0 D7~9

A-/B> A- /B> (C-/m-) G-/ A> G-/ AD (Bo- /B-) , 7r 7r 7r 7r 7r 7r 7r 7r 7r 7r 7r 7r 7r 7r 7r 7 7

G0 C7~9 F0 BP~9

F-/G~- F-/G> (A~-/A-) E>-/E E>-/E (F#-/G-) , 7r 7r 7r 7r 7r 7r 7r 7r 7r 777r r r 7r 7r 7r 7 7

E~0 AP~9 C~0 F#7~9

D-/E~-

'Il 7 7 7rTL 7r TUNE 10 (CD TRACK 15) I E~ D-/E> (F-/G~-) C-/D>I 7 7 7 7 I 7 7 7 7TTTr TTTr C-/D~- (E~-/E-) I 7 7 7 7rTTZ C0 Fl o9 Bl>0 E?7~9

B~-/B- B,-/B (O-/D-) Al>-/A Al>-/A (B-/C-) ,777717777r r r r r r r r 7777r r r r 7777r r r 7

A~0 Dp?9 F~0 B7~9

9 F#-/G F~-/G- (A-/Bl>-) E-/F E-/F (G-/A?-) , 7r 7r 7r 77 7r 777r r r 7r 7r 7r 7r I 7r 7r 7r 77

E0 A7~9 D0 G7~9

CHAPTER 9

The next hexatonic is a major triad over a minor triad a whole step apart.

EXAMPLE: D/CD/C

~ r i ~r #0 J : This hexatonic fits over all of the same chords, that work for B-/C-. It can be played over C-7, A-7, A0, F~0, F7, A>7, B7, D7 and E?1l7. See also Chapter 8.

~ .: I

D C

~~J J J~J J JZ Diu W,] J 3 J J [ r r r r ." ~~~~~-....-

J J ]. J 3 E

~

._............

_..............

.-...........

25

29

1

33

.~.. ,.. -" .~ ". ~. .

DIC

u

3 ~ . j .. ~ ~ r~r f ~ jE rg-.

35

Jmmm .

6

DIC

+' j j .. 3 J J J j ] JJ#r rrj cr~[f E t f f I 1 I I

J ~ I I l 11 J - .

-r- J I I

.." -#11- .. J 1 1

60

I: .:or..~: f rr[J EE8# Fj JJJJ JJ j [J JI 3 i j J J~:L' =-:1'] J ] iJ ]JJ J ] J Ct L r rr#r Eer! E#r Ed ~~, . til til = r -_. ~ -:t lL

oL

J -.~ "~B]~ii J=# ...... l~ . 1 I 1 :::J #1 .. mmm. til L I 1-.. ~r_ I II --L9

U#E rtfJ J~ JJJ j JIJ JJJJ J 3~ fiJ wiJ Jj ill 3~:9' fJlfJ J31J]J] fJ JJ#J ] J J [ r Ej" C![ [fr r G PI ~!9'

9

69

19

3

D/C

,5~~ J) J;l j J~J J [ l ~ [ L Ctp [ Ltc fEE r f r ~......... ~........ h Ef f ~ t t.f......... .........J1*... r =iF". r r~ 'J d-3-J 3d 1~ ::t - - - E t t ~ : t ET ., #~ ~ ;:- ~J

~~~ ~J j 3 gJ JJ: f? 4]J J3r r'F fEE [t =fi'E f F

:: : F E f r fiE f J JI ] ] j JI JJj J JJiq JJ 3J~ JdJ ~~!,' ~1 J~1ill 9J\ JJ J~JJ ) j Jj JI JJj JI ErE;I r rg-t-~~ ~,j d [ rUI[ f [1 i JI J Ji J J ) j ill J~ Jj ill ill 9ap ill J~~!,j JWJ j JJ JJ;ill ill J j J ] J j JI J JE [ r rl cFff E FEr 94~6t F cl E[i Err ~ cl FFr J JJj ~J J ] fJ JJ J JJJ 94~ j --___ q 8 -J ~

J i Jj WI i J JJ 4j JJ [ E Fj r cl rf [ FEr 4~~ j

3

7

-<

J1 L

J ~ JJ JJJ J~ J ] j J JJj J JJ~ JJ JJ~ ~ ~ 4~z,

7

9

11

1:;~~~JS~jMaq~p;;~iF}=~~~,' ~)-~VJq_J~J~3~f~~I~#.' n

____~--#-~1-.~~Efrj~~~.~~fi~~if\#rt=

v:tR~44~j~Tfft~M~#.' . 6 -~~~~w~~ . -~ 8

~~~~~~If--t-~_~ L

I t>

8 ~ ~~~ ,'~;~I ?rf/r" Ed [: rfrT (y Jfjd~~[#r~r JlJd~3qJ

..

,9j~#..I] Jm~iJ qJ J ~FI'r gr#f f~E ~L" r f~PE dE E:~r\r#EftI

,'*##1 tErl~[#Erl(qE\(l dG~[; [rgrT~fJ Ja~?jJ J]dQ

11

~"". -~ ~~..~-~-=----..

I. .~

t,,---c-=-Lr= : -Z-J dJ Ij ~n j JJIIJ JJ3d i JJJJJd 9~~tt

-+

-",* LL

.~~.: E~ r'f r~ rf" J~J J ~ j JJ~fJ Jill JJ~ J~#~t :_mm~;;; :T . I E r OL i1 JJJ3d"J JJ J MJ fJ Jill Er[1 E Efi [*e oJ b t 6

j J J# JJ ErE f [ t rr[EF1gEMr [ r rr b,t

5

-'!'''_ or _ ".... .~ '. . ~ ,

~.. LFf ~r Lt 1: E f r! r !' E!r j J#3 12 2 3 JJ ,\ fJ JJ#J 3d J cF f;#J J JJr [[!#E F f* f~[ [J r ,

8

## [i F; cF#[ r [ r :!F r r [ r j JJi3 J.. Ji ] J#3 j 9 , r jIll~ r rF E!r,## iJ ] Ji ] JJ#i JJ J [ Pr; r [ rJ E i * to ioj

I

aT rIT; Er EJ JI 3J J~ J~p OJ JJJ J J@Bl1 JQt' n~fJ j J Sill JEJd J3 JJJig EEf r-c F[tc r rn' 6 J LIFr~ J JJJh3J J-J JJJ ij3-lj iJ~J J J-) @g#s'

J r LF}I JJ J ] J; J ~I Jj J a@J31J31JJ@n.'

E!D

-

I ~~~~ftt-f-gf-~}j~ j ]J~~JJ#@ f~ . . .. . W~J""'"+-J_~--------~---:t=-JL~~ -E ~~f-~::;~ :;.fcf.7.JJ t= "--,--l#T~lf#P=-I-U-=:=~~ ~ ~ ~ LL

~~-li[t[WI' t~F Et3fF4p=iJPFJ=~=~' If .. OL

~~';-i~~-~~.~.~---:="=l~r~--B+~fJ. RfJ# J ~Lrr-* -_' ,r... -... 711 "l: # # ~ ---:;'-:.~~~:.~+:-:-~~~J'~! F8rEf=[ r Ef=Win! L

j :~ f t. J :: 0' : ~c

L

DESCENDING GRID: D /C-Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.

F~/E- C/B~- G/BI'l

U

1'1

iU

,

~

fl

,) l'

,

U

r-fl

*'-'

!

i

l'

~.~

'-~

I -----!..

I

~

U


D/C F/E~-


Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be I bar, 2 bars or 4 bars each.

ASCENDING GRID: D jC-


DjC- OjB- CjB~- BjA- B,jA,- AjG- A,jG,- GjF- FtjE- Fjb- EjD- L'" C:I'l

::K+--putJ -e ~-e- "u

1

..

tJ

~

'-:JtJ

~..... oi)V

11

tJ -

APPLICATIONS

Again, try using this hexatonic on tunes 6, 7, 9 and] O.


(A,jF:!-) D/C- D/C- (FjEb-)E/D- E/D

D-7 G7 C-7 (F= jE-) (EjD-) (E,jC=- ) (C=jB-)

(DjC-) (CjBb- ) F=

F:-7 B7 E-7 A7

TUNE 7 (CD TRACK 12) I C

(BjA-) (A,jF=-) El>/C: E~/O-

(AjG-) (HjE-)

,

,

E,-7

C:/B

B-7

A77

C:/B

E7

(GjF-) (EjD-)

(E,jC=- )

C~-7

B/A

A-7

F~7

B/A

D7

(FjEb-) CD jC-)

(C:tjB-)

9

c

9


G F

B/A- B/A- (o/C-) A/G- A/G- (C/Bb-)

5

F#0 B7~9 EO A7~9

TUNE 10 (CD TRACK 15) IC A,/F~- (B/A-) F~/E- F~/E- (A/G-)

A~7,9 C~0 F~7~9

o/C- (F/Eb-)

E A 07

C/B,,- (b/O-) Bi>/A,- Bb/ A>- (O/B-)

GO C7~9 F0 Bl]T,9

, I

Chapter 9

,if' Try using this hexatonic on tune 11 as it sounds the ~9, ,5 and 13 of the chords. ~c

TUNE 11 (CD TRACK 16) I C

D

The hexatonic from Chapter 8, "minor over minor a half apart," can also be played in this context over a major 7,5 chord.

EXAMPLE: C-/O- PLAYED ON B7~5

(-jOB 3 !J.7

TUNE 6 (CD TRACK 11) I B~ J .t3(CjB,- ) (B,jA,-'

fe F#jE- F~jE- (AjG-) EjD- EjD- (GjF-) 7 7 7 7 Z 7 Z 7 7 7 7 7 7 7 7 77 7 7 7 7 Z 7 7 7 7 7 7 7 Z 7 2I E-7 A7 D-7 G7

(A,-jF'-) (EjD-) DjC- DjC- (F jE,-) CjB,- CjBr- (E,jC-)

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7 7 7 7 2 2f 7 C-7 F7 B,-7 EP

(EjD-) (DjC-) 9 B~jA~- B~jA,- (DbjB-) A,jF~- A,jF~- (BjA-)

Z 7 7 7 7 7 7 7 7 7 7 7 7 7r 2 7 7 2 2 2 2 7 2 2 2 2 2 2 2 2f 7 I A~-7 D~7 F~-7 B7


fe

(CjB-) (BjA-)

GjF- GjF- (B,jA,-) FjE,- FjE,- (A,jG,-)

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7I I 7Z- r r r r r r r r r r r r r r 7

F-7 B~7 E~-7 AP (AjG-) (GjF-)

5 E~jC#- EojO- (F~jE-) OjB- C#jB- (EjD-)f 777717777 7777 7777r r r r r r r r r r r r r r r 7 q-7 F#7 B-7 E7

(F jE,-) (E,jC-)

9 BjA- BjA- (DjC-) AjG- AjG- (CjB'-)f 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 -Jr r r r r r r r r r r r r r r r -)

A-7 D7 G-7 C7


fe AjG- AjG- (CjB~- ) GjF- GjF- (B~jA~-) 7 7 7 Z 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 7 7 7 7 2 2 7 7 2 7 I E0 A7~9 D0 G 7~9

5 FjE~- FjE,- (A~jG~- ) E,jD,- E,jD,- (F~jE- ) 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

2 7 7 7 2 2 2 7 2 2 2 2 7 7 2 7f 7 I C0 F7~9 Br 0 E,7,9

C#jB- C#jB- (EjD-) BjA- BjA- (D jC-1 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

2 7 7 7 7 7 2 7 7 7 2 7 7 7 7 7f 7 H 07~9 B7)9G#0 F~0 9

Chapter 9

TUNE 10 (CD TRACK 15) I S~

BbjA~- A,jG~- (BjA-)(OjB-)

Try using this hexatonic on tune 11 as it sounds the ~9, ,5 and 13 of the chords.

TUNE 11 (CD TRACK 16) I So DjC- E~jO- CjBb

At>jF~-

EjD-

FI:\~ 5

See also the note on page 242.

TUNE 6 (CD TRACK 11) I E~ (G/F-) ~

(E7/C=-) 5

(B/A-)

TUNE 7 (CD TRACK 12) I E7

(A>/F=-)

(E/D-) (D/C-) A7jF:i- A~jn- (B/A-)

F::-7 B7

(C/B,-) (B,/A7-)

TUNE 9 (CD TRACK 14) I E~ EjD- EjD- (GjF-) DjC- DjC- (FjE,-)

B0 E71>9 A0 D7,9

CjB,- CjB>- (bjC~-) B,jA~- B,j A,- (C~ jB-)

GO C7~9 F0 B,7,9

~~~~~~~~~~~~~~

..:

9

Chapter 9

;~~; TUNE 10 (CD TRACK 15) IH."'9;."

"1b

B

AjG- AjG- (CjBp-) GjF- GjF- (B~jA~-)

Try using this hexatonic on tune 11 as it sounds the 19, ,5 and 13 of the chords.

TUNE 11 (CD TRACK 16) IH

J

See also the note on page 242.

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: H-jC

FU-jC

~ r ~J ~r #3 J ~ For example, the hexatonics or E,-iA- can be played over a 0 diminished chord or a C7 chord.

EXAMPLE

Eb-jA/1..7 9 11 ,5 ,13 ,13 :13 /1..7 9 3 11

q07

F~- jC- Eb-jAb9 '9 t11 5 13 13 ,7 :9 3 :11

C7

I

1_

, .

J fJ~J~5#fJ JG~ [#[ r!f t rfi-[!F#C trr rEx 4!,'

rr~[ E!pc r[rt~P#r Id Ed JREdS JEJJ4!,'

l~

Chapter 10

H-/C

!t

~2;b t t E!r #( t E~ #r r [~r #J J#E q3 d J#~ aJ 27

l;~ =I J J-d J II J J~r ftr ~r EJ ~ II" r~ ill J~1 J#J~mm # l';' E-r~; f=t4@:[jE r!~ J#4lw l~JJ j

~3~~ 1 J~J #J j J#rJ J 1] #3 [1[#6 IF 6-1' IE Efl

-til ". ..rr I I ..,. 35 -~

I 7!

" I i lJ I I~.. -

tJ ..

I

-- I

r .,.~ -

(e

:4i~~ .. . ~ I I L ILf/"

I --fII-....4-

b--.-[E r~p-EgE~fr iJ~~~3 iJ 3#3 iqJ~JJ \'

b44~-~==-==--=fjff JJ~42 JdF-Fi( eC'r ~!J

-fll-C -fII-~ _ I I i

I I ;

J

..

Lf.

53

49

, 11m tJ ..

t;~ #f qr Err Pr! t+CJ [IE #[ /[ r"r r p[ r~:r~.===-~~} JJ~JP fJqJP J Jw;J~J1JJ J lID j J#J JdQJi3 Qr =j #cqf Ftr r Fr* rpE~~ f [iW~~ Ff.[ Er!fE=[#jJ m ,5;" JJJ l#J tWU JJ J j -J JJ#" ;l#] ;"j ~J [1p l r

60 , I

-

-' I

~ .J MIIJ~E#Ft [ [E rCE L .. J;tJ J ] ja#J J j Jd Jina J;3qJJdd j JJ J#J J~ J4: ' 9

J# Err t [ [ Ef r .

5

7

11

3

::=

-

-

-

-

-

-

-

I

~ u

~. ...

JL.

\I c::

.. ~ '.L

.JI

V L.

.L

"'.: ~q .~~.--=EFT~--=:;

;==~~-4Mti~~J.~'~~t'

:::t-Jr~fil=J=JfJ!]01Wrr=fi!rqFAy$f .: u ~~t~~~-~Eri-, .~

5

'" ..

--

I . .:

t...~................~:~~_~.~~

-

Br/E

10 t ..

..

I" ... ..

11

I

I ::'~1~ ~rf'r~tJ iiJ~j~J~j J~J9ja Jq:~a~iW 1 J~J~~J J ~L' =-1 . 'ill gJJ Ed JJ)P l ] 24J~ J j J9J~ C~ eE;~E:: F~r; I' = ::1 7/(." c:i ~ c:i. ~ ~~ .(. ..~ c:i

~~~r*r~r r er~E f jd9J~) J~Ja J Jd~J J J~J~J J '9' ~~J~J JJ~J9Jd J/: JJJ'~~r~er c:F~rl 's'

Ar/D

mmmmm mm J # nub

8 t: _[;1[#[ rJ[~f r:;"r#f fir J mJI~J Jj mla J J

, JJ JQJJ JJ ilJ J ; [IE rJ cr#f!r E r[j#t r f/tt

f trr;#ee r ; #0 rEr =If #f ; IE r r'f IJ J j ,3 OJ 2JJ#]11

, # #~ ," J J#J ,J ;j JJ19EIr If rcIC #f i I[!r #f -$ Ec#r r#f qr CJ D

- -

DESCENDING GRID: F~-/C-


F:-jC- G-jC- A,-jD- A-jb- B-jF- C-jG,- G-jG- D-jAl>- E~-jA- E-jB~- F-jB,.,

.-.

..

U

1\

U

,.,

:u

~

u

1\

U

1\

~~

'LJO

I

~

._

~.

~

..., I I

!

,

I

EXAMPLE using the same melodic phrase from slarting note of the grid.

A,-jD- A-jE,

EXAMPLE using diflerent melodic phrases from each starting note of the grid.

F~- jC- A,-jD-I I I I l 1 - ~ . 1 b.


ASCENDING GRID: F=- C-

Try playing 8 notes of any hexatonic melody using the noll'- ,

F~-jC- F-jB- E-jB?- b-jA- O-jA,- O,-jG- C-jF=- b[ II ~--

----e--- =n - u ~ -~... .

- -

i ~ -e -e- I-'~ ~

I

..J. I ..L

~ ro~~ -::::z.n ~

i .. ! !

I i i

~ i I -LJ

r'\ ..;; 3:I~

c

9

21

APPLICATIONS

Try using hexatonic #10 on tune 8 (the dominant 7Th chords).


Hexatonic: A-jE~- (F~- jC-) D- j A~- (B- jF-'

Chord

Documents

Jerry Bergonzi Vol 7 - Hexatonics