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10 F~-/C- .............................. ... . .... . · .. 2-t!

11 Other Hexatonics ................ . ..................... 271

D+/C+ ..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... .271

DO/CO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

13-/C+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .273

B~+/C . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .277

BO/C- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .279

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

TRACK

TITLE

01

Tuning Note A

Tuning Note B,

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

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

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

.2X 1

.................................................289

CD CONTENTS

03

.1-+ 1

· .. 193

E,-/C .....

02

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. 1 1 ;

1 on 3 on 4 on 6 on 8 on

tune tune tune tune tune

3 6 8 9 6

(chapter (chapter (chapter (chapter (chapter

1) 3) 4) 6) 8)

r,ztroduction

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 differ ent 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 cre ate 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 atten tion to get in your ear.

B/C

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l\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 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 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 tri ads 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

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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-/C

minor over minor a whole step apart 7. Bb/C

major over minor a whole step apart 8. B-/C minor over minor a half step apart

9. D/C major 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/C

diminished 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 exam ple 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 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: D

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

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

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F/E~

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EXAMPLE

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

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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.

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ASCENDING GRID: DIC


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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. ~~

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APPLI CATIONS

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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 hexa tonic 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 pass ing. The motion defines the context. TUNE 1 (CD TRACKS 3 e>" 4) I C

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B,/A,

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F7 sus

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B~7 sus

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Chapter 1 TUNE 3 (CD TRACK?)

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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

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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

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APPLICATIONS

c

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

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Chapter 2 TUNE 4 (CD TRACK 8)

B

B

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B

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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 9 th intervals are sounded. In some instances you might want the more dissonant sound of minor 9th s. EXAMPLE

B/C 1'1

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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

D

CVD

EXAMPLE

B/C

B/C

F/F~

F~/G

G/A~

A/B~

B~/B

using the same melodic phrase from each starting note of the

C/O

EXAMPLE

E/F

C~/D

D

using different melodic phrases from each starting note of the

C/q

q/D

D/Et>


· -, -

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~

o

Ep/E

ElF

D~/D

C/D~

e

t-

7

f4=.

:........

....

,~

~

t. :

I

i

,.

I

-r

--+--

.•.. ~

t.

!

I--- : ~~ .....•.•..

I

...

t.

,.

I

I

j

!

i---

-

-

..

I

, "' "

.~

1- "TY

....""0

I

t.

I

I

:&==..

±

-

-=

r-~

!

i

.~..

'-"

I

O:~

~

i

i

Ji..' t -

0

EXAMPLE


B/C

B'/B

A/B~

ASIA

t-

EXAMPLE

using different melodic phrases from each starting note of the glid.

B/C

9 t-

B~/B

AlB:>

~ ~ ~ ~ #~~ I ~ ~ ~ #~ ~ i~ ~ ~~ I J ~~~ J#g -

A~/A I

~ ...

tf·


;. I

Chapter 3 APPLICATIONS

TUNE 5 (CD TRACKS 9 eT 10) I C

5

9

13

17

Djb

DjE~

(-7

F7

AjB~

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) I C

o

B~-7

F~-7

EP

B7

A~-7

OP

E-7

A7

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

/.

HjE

/.

A~7

q-7

F#l

FjG~

"

"

"

E~-7

B-7

G-7

A-7

07

/.

GjA~

/.

(7

F-7

BP

E7

Of course, improvising and using only one particular hexatonic sounds very one dimensional. 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

TUNE 7 (CD TRACK 12) I C 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, 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.

TUNE 5 (CD TRACKS 9 co 10)

~

.,

I B~

All!

D7,9

All!

D

All!

D7~9

All!

D7l19

B

'

G7

D

Ct-.

G

'

,.

•

F-7

Bi:t7

E-7

A7

All!

D7t>9

All!

D7~9

All!

D7l19

All!

D7~9

D

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>

EP

B~-7

A~jA

B7

Ob7

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

FjG~

Er 7

A~7

B-7 9

AjB~

BjC

~_~L A-7

E7

z7

7

z

07

E

7

,

r~_z

1£2 G-7

z7

z

z

7?Z

7

7

C7

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

II

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

FjF#

~

ie •

/

-zz

/

-zz

-zz

E 7

-zz

-zz

7

-zz

7

-zz

-zz

-zz

D-7

A7

~

-zz

/

-zz

-zz

I

-zz

-zz

-zz

7

-zz

7

-zz

-zz

-zz

Bb-7

-zz

~

-zz

-zz

-zz

7

-zz

Z

Z

7

GjAb

-zz

r7

-zz

ED7

AjBf>

~ -zz -zz • -, 7

-zz

BjC

F7

~

7

7

G7

DbjD

i•

I

-zz

7

-zz

7

Db?

-zz

-zz

-zz

7

-zz

7

-zz

-zz

II

B7

F# 7

TUNE 7 (CD TRACK 12) I Bb

EjF

F#jG

tE' •

7

_........

7

2

7

7

7

2

7

7

I

F-7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

ED-7

Bb?

7

-

•

,. ~ ....... • _

7

7

7

7

7

7

7

I

C:-7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

B-7

F#7

7

A. -7

7

7

7

7

7

7

7

7

D7

7

7

Z

7

7

7

7

7

7

7

7

Z

7

7

E7

Al)jA

BbjB 7

7

I 7 AD7

Cjq

D jEb

~......

7

7

7

7

7

7

7

7

7

G-7

7

7

7

7

7

7

7

7

7

7

7

7

7

z

II

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

TUNE 5 (CD TRACKS 9 enol I E? ... : A B,

13

A7~9

F~/G

Gl\ D

29

This hexatonic when played over a minor 7,5 chord (0) sounds a ,9 and a q13 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!

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

,. (j:/D

-'If • ,.

,.

2

7

B/(

:/. 2

7

2

7

Z

7

/

B-7

2

E7

7

7

Z

2

7

I

:/.

4 7

A-7

D7

A /B,

:/.

G/A,

:/.

G-7

(7

F-7

Bt>7

~ __ - 4

•

,.

--~•

:;: 'G,

:/.

Eb/E

:/.

b-7

A,7

(~-7

F~7

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

D/Eb

~ (f

.. 7 4

•

(-7

41

r

:/.

(1 m

F7

BD-7

:/.

EP

:/.

A~/A

A,-7

Dt>7

F~-7

B7

F=IG

:/.

ElF

:/.

A7

D-7

G7

~ .

E-7

:/.

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

:: I

Try progressions 1 and 2 with this hexatonic, too. TUNE 6 (CD TRACK 11) I E,

5

D

9

TUNE 7 (CD TRACK 12) I E,

BJC

EP GJAt>

5

A~-7

D07

B7

9

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, 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.

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

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

I) ... /C+

:h~

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

-' I

3

r

11

ia-~~~~~~~~

-•

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

~

JJ

.!

+7 f Jla J JIJ #J JIe FL? j.; IJ ~ L#f ~f ~r E E FJIT fqr!f r ~28r#[ f tIE t f~ Eric f'E!f

J Uti Jft] ~J 13 J :

E fli: IW

29

2J]

g

35

1\ 36

tJ

_......,

~ ~.

h.

-

"Ii:.

~.

I

I

I

.L....J

I

I

I

I

-.. ;r.

I

-I I

~

~ ;-:: _ .•:. -.

II.

11-

.+1

~

.;:1J:~ £'" J== · ~ 3

-

•

I

! .~

~.

d

r r; ~!.

.'f! -,J

~:.:

#

•

•

S·

(t

•

817

7i

~~

Lf

-

53

55

#~ ~

~.

, EPc £ b~r 58

60

t!. i

E

r..

t: #~

~~

= EHEr t E F t: =J PIt:

#~

~

b

P PIe

r r! •

,

.

.

~. ~

"'."

.

"

~

3

,

=tP] ffJ 12f i JI) J= fie r+= [ r'F q[ 1e::clr f IT rt~ {rtf t

. '=c[ j '(

pgJjJ LJ#;] J

~, J-SJt~~~ JiJ$J,c FPJ- J1];1*[#[ gf!r fE 8

rr LGqOr ~

ttL [J rc fff t'-[ 'e f frJ[ [ F,i JiJ Jf~ JfJ ] ~iJ IJ J ~ ~9 j

g [

j,:l IE

#t J,J J J JJDd J mr [J [rtCPr rrtr t Pc ~r Fftr

ft [rtc (rtf [ttL r~r PL 11

E

e[ gr f

[IC

[Ir tiJ Ja Jj3 JJ#fil

#

q

#

q

gr @~

#

q

q

. F;j

J~

Ffij r [ Ff; J:lq \} 1

E fj iWJ~J#J j J ~d

f

J~]

.

~

.

=t j

LL

ffi J j J#gJqJ J# ~ ' 7 .q ~ .

•

Ol

.

liABrr4¥c!jff wt ,~ 6

[-'-- r Eft.t=fJddE~rl~d' ~~ J#lnqJ#YJJrJ ~~ '.~

~=m~WllaJ MJ r# r[' rq ~ JME T[!J'~fk~ L

~~iJ~J3J~ "J

Etm __·

g{JqJ J~~J#J J JP fitr;J J#cijF1f ~

elF F~7

s

tt t

---

,

...

11

3

5

9

11

#.

I. ~ . . :.::.:~ ;-:";J -Void j ~£J J(dP ~ . ~ Jd~i§ ~~2#J 1 ] 9 ~/(''f: ~=

~q ~

t.

-=-=0 J?1Id iia#r~tfJ#25J t J~J{J ~J J~j mmE'g~b ~ "?~.. ~cc-=--$![ ffj mE3 ~J 3d n~a~J J 3~J O~fjij~41~J 3~~

--'- -iJdfiJ~iPF~¥1fJ j 3J&tJJd r fij[fltwr F&i:,,~

:·~f!~TJ~LJ J;J@t1£r1tW~J 3\J "'/:~ . --lQJW)=~ JWJ;Jt¥f~Jld1Jg~ EI[y: cf 9fi

~-

Ii,,?

g-f~ f ~=fA[;;-~... .. ·

- ..-~ ~j{JP~=f~-ij_t-'b·-.t

;;=~---TlJ J~J j J~J JbAJ J4jJ-J 9J t Wgr~;" f

_._. .~~J~J~.%ij~j~~Jti1~.·~.···J~bJ~J~~J~~J~J~~;j~qiJ~J~fJ;~J~~~~J~R~Jd~g@£i~'7-_7 ,

.."

.

£

J J# J~ J%f J. 3~ J J J. ] r pI r Pr F' [2m! r &1' 'b; "

J J Jd JQJ 3d J ,3 Jd~J J j J~J#Jd#d J J JqJ~·t ate r f-@; .."

J JdA3 ij

J 3d J;J J1Pr Fry [!r

t

9E

.,

~~:y/ ;jbPd jqJ#J L r r!PLiF#~g7i[ [lEi [#r -'

[1 c

•

II

I

I: . 8~ ..,..:.. ~.~ "'~ljIJdgJd,JqJjJdn3~JqJqOld~~9AJdd#~q 9 1I',:~,t q

-. ;:;:.",:JdqjP, Ol,3 q(J, Jig iJ, Jigi AJ IJI31af# r~ r# r rJ #,.:;~

.. " q

. ;g:[ f f11E#[ r~1 £J1~a JiJAg aJqJ~ J,a Jqitq~qi~ J]J J d d#,:: ~:"" .,7:: J3qJqJ,~J JqOl, alJ, JqJ, lf3 1JIJ rl rl[II r1( 01rft C[I [ £ #$}-~ ~

.,

fI

6

"I ~f#fJ [ [I FyI [1f#[JilUd,31 ~Jd J,13 J Ol lJ J J 1 # ~ ~q~ ':.=s!

~~~ #

- ;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 >:\!' q J#J J~ J J jP, :Jd £J! Ol~ J, ~-J--~J~!JI(1 C# [#;! E# r f-~ #~,:s 7 q q .. s q q

JI~ Jd, 31J J Jq 3, ~ Jd~ J~ a JdqJqJiJdqJ~ Jd JJ \\7 w, £JI:J1JI£J ~dl [! F1 fJ1 [I 01[JI [1 f#

fie [I f rf

J![1f#F¥!J Jdd,£3dd,J 3 Jd J 3d 1 f3 J] ~q

#;t~4

~q;t

.

::':57 ..

~- ~

.... ;sf= r

e rf r[a of r[1 crt [[I r£ #:.. :5~.

J! ~ J, J! Ol1[: J, J! JI r!

7

t. .... ~.. ::

•

.

.

L:.

....

,

. Ll

#

~

q

fjd#J#JeJ~~J Ji~Jd~J J hU! ~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

~ ..

I

•.••.

+t ......

II

~

/

7

---+i "

7

I

tho

• I

1".

.

...

~_.f'_.

"

~

I

0


EXAMPLE

C~+jD+

EXAMPLE


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

~,

,. '",

•

'",

~.

EXAMPLE


B+/C+

B>+/B+

~ Ef f.!J' rlr LJ EXAMPLE

B+ /C+

I

A+ /B>+

rr nr iefr L~ J

j

I

e[

A>+/ A+

nr EIr FJ

I

E~r H#[ [ F..

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

APPLICATIONS

-I

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

,.

G- A,-

~('

7

/

•

7

7

7

7

7

7

7

A, \

,

7

•

,.

~

~

7

7

7

7

/

7

7

D0

C- D,+

/.

7

/

7

7

7

7

7

7

7

B,-7

E17

E-jF+

/.

7

7

2

7

7

7

7

7

7

7

/

7

7

/

7

7

7

7

7

7

7

7

7

7

7

7

/

7

/

G719113

/.

7

7

7

7

/

7

/

Z

7

7

7

7

7

7

7

7

7

7

7

7

C-7

2

7

7

7

7

7

7

7

7

7

(F+ /F#+) 7

/

7

/

7

7

(F+ /F#+)

7

7

7

7

7

7

7

F7

D+ /E1+

(G+ / A1+)

7

7

AP

7

/.

D+ /E~+ 7

7

I

F7~9

C-7

(E~+ jE+) 7

7

7

7

E~-7

D+ /E1+

7

(A~+/A+)

Gr+ /G+

A~f\..

E17

G+/ A~+

::), \

/

•

/

7

B~-7

C- D,/

7

G+/ A~+

(E1+jE+)

C+ /D1+

(F+/F#+) 7

7

7

7

(E~+jE+)

C+/Db+ 7

/

7

/

Z

7

7

7

7

7

~

D-7

G7

G- / A1+

C+/Db+

~•

7

is

7

7

7

7

7

Z

7

B~-7

C+ /D1+

G+/AiJ+

7

7

7

7

7

7

7

~

/.

C+ /D1+ 7

7

7

7

7

7

7

7

7

7

7

7

B~-7

F7

7

7

7

7

7

7

7

7

7

7

A~f\..

7

7

/

/

/

G719r13

7

7

7

7

/

7

7

7

/

7

7

7

7

7

7

7

/

7

/

7

Z

&

E,7

C+ /D,+

/.

/

7

7

7

7

7

7

7

7

7

(E~+ jE+) 7

7

7

7

2

7

/.

/

7

7

7

7

7

7

7

7

C0

F7 alt.

G+/ Ab+

C+ /D~+

7

7

7

7

7

2

7

2

7

7

7

7

7

2

E~+ jE+ 7

2

7

~

B,-7

EP

Abf\..

7

F7~9

7

~

B,-7

7

(F+ /F#+)

7

7

7

AP

/.

F+ /F#+ 7

(A~+/A+)

Eb-7

C-7

(E1+ jE+) 7

7

7

7

D+/E1+

7

EP

G~+/G+

G+/ Ab+

E~7

D0

D,-"

/

7

7

(E1+ jE+)

7

A, \

/

&

7

/

C-7

B~-7

EP

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

7

7

7

TUNE 12 (CD TRACK 17) I C - E,+/E+

. E.'.~5

,- ,.

•

B+jC+

C~#5

::; - / A,+

E+jF+

-\~\:5

F~~5

C- /D,+

D,~~5

c

A~+jA+

A~~5

F- /G,+

O+jD+

G':'i~5

D~~5

A+ jB~+

F~+/G+

It

~ .... ~

•

•

B,~#5

G~~5

•

E,~#5

B/,,::5

.. :I

""

.

.

~

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

./

''Sb ,

,

7

{! Chord

, , , , , , , 5

9

13

17

21

25

29

D+/E~+

A+ /B~+

Hexaton Ie

7

7

7

7

7

2

7

7

7

7

7

7

2

7

7

EO

D+ /Eb+

Yo

7

7

7

7

7

7

7

(-7

7

Yo

7

7

2

7

2

7

7

7

7

7

2

7

7

7

2

7

7

7

7

7

7

7

7

Ebll

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D+ /Eb+

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7

7

7

7

2

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7

7

(-7

F7

D+/Eb+

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7

7

(-7

2

7

2

7

7

7

7

7

F7

7

2

7

7

7

7

7

7

7

7

7

7

7

7

7

2

2

7

7

2

7

7

7

2

7

(F+ jG~+) 7

2

2

7

7

7

7

7

7

7

7

F7

7

7

7

7

7

7

A7,9,n

7

7

7

7

7

7

7

7

7

7

7

2

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

E+/F+

Yo

7

2

7

2

7

2

7

7

2

7

7

7

7

7

7

7

7

7

A+/Bb+

D+/E~+

Bbll

7

2

7

7

7

7

7

7

7

(F+ jGb+) 2

7

2

7

2

7

F7

(Bb+ /B+)

7

7

7

7

7

7

Bb7

(G+/AD+) 2

7

7

7

7

7

Yo

G7 a lt.

7

7

G7 b9

DO

7

7

(G+/Ab+)

Ab+/ A+

F-7

7

7

(-7

G7

Bbll

7

2

7

7

G+/A?+

(F+ jGD+) 7

7

7

(G+/Ab+)

D+ /Eb+

(G+/Ab+)

D-7

(F+jGb+) 2

2

2

7

7

G7

A+ /Bb+ 2

7

Bb7

Yo

E+/F+ 7

7

G71>9

D-7

7

7

Yo

E+/F+

7

7

F-7

D-7

A+ /Bb+

7

7

7

(A+ /BD+)

D+/Eb+ 7

2

D-7

(-7

2

7

7

7

7

Bbll

7

7

B,ll

(F+ jGb+)

D+/E~+

7

2

A7,9!>n

7

7

7

7

A+ /Bb+

7

7

(B~+/B+)

Ab+/A+

E+/F+

A7

7

7

F7

E-7

7

7

F7

F~+/G+ 2

2

A+ /BD+

A+ /Bb+

Ebll

2

7

(-7

B,ll

D+/Eb+ 7

7

(F+ jGD+)

2

7

2

7

2

7

7

7

(-7

7

7

7

7

7

F+jGb+ 7

7

7

7

F7


2

7

7

~

-' . . : F+/Gb+

.: G~A~5

;- /B,+

If

l. --..

TUNE 12 (CD TRACK 17) I B, O+/D+

DA~5

F~+ /G+

3",\::5

GAtS

:,)- /E,+

B,+ /B+

E~.\:5

BA~5

-::::-/A,+

Eb+/E+

;~'l.:5

EA~5

3- /C+

Ab+/A+

C'l.:5

AA~5

If

~

..

..;;..~

If

4,. .~-

t

E-/F+

C+/DD+

If

--&•

F.\:5

DDA~5

/I"

--S'

Chapter 4

TUNE 8 (CD TRACK 13) I E~ Hexatonic

Chord

5

FII

A+ jBb+

-7

E+jF+

-7

7

B+jC+

A-7

(D+jE~+)

Yo

D7~9

D7

(F+ jG7t)

F7

D

alt.


TUNE 12 (CD TRACK 17) C+ jDb+

Ab+jA+

D,~;5

A!:J.~5

• - F+

,-t

I E~

1:b

Cl+jD+

zz

:z

L

zz

-:::z. L

-:::z. L

2z

r.

-:::z. L

= \:5

D",~5

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F+ jG~+

3~~::5

G~",#5

J - / E,+

r.

-:::z. L

-:::z.

-:::z. L

L

-:::z.

r.

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L

L

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:.:' \::5

B",~5

=:-/G+

Eb+ jE+ ,. E!:J.~5

G \::5

.. 3- ,/C+ ~ ., 7

7

7

7

7

Z

~~+

Z

/

G+jA~+ 7

7

Z

7

7

7

7

I

7

A7",~5

C\::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, or A7. Played on a C dominant 7, the hexatonic spells out the root, ~9, 3rcl, n I, 7'h of the chord. on a

t..

C7

on an F~7

on an E?7

,9

on an A 7

... ...

... ...

~

... ~ ... root

H7 and

3

~11

5

7

13

7

,9

Again here are 72 melodies based on

:9

3

5

:11

5

~

7

root

,9

3

~9

3

5

13

7

-9

hexatonic.

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:

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

E~/A

B/F

A/E:>

F/B

I v

"

f)

~

fI'U'

If)

_.._..

I

...........

f)

- -

=i

1'1 .

v

f)

i 9

f)

1'1 -,

f)

EXAMPLE

G~/C

G/D~

EXAMPLE

G~/C

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

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

A~/D

Alb

BolE

G. D'

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

~

I

~

l+ ,...

I

I

I

~e-

.. ,

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

EXAMPLE


=: C

~~ lJ#J11J •

EXAMPLE

=: C

E/B,

FIB

~

I

E~/A

J3JJ#£J JJ iJP JiJ1J J I ~iJd JJJr- ~ I


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

· ,..

'"

:::

APPLICATIONS

c

Try using major triads a tritone apart on tune 8 over the dominant chords. TUNE 8 (CD TRACK 13) I C

AjE~ (F~jC)

Hexatonic

DjA~

(BjF)

Chord

5

9

AjEb

(F~jC)

BjF

(A~jD)

BjF

(A~jD)

AjEb (njC)

BjF (A!7jD)

13

G7

F7

C-7

17

Ajb

(F~jC)

21

DbjG

(B~jE)

D

B[1-7

Eb7 DjA~

BjF

(BjF'

(AbjD)

(-7

AjEb (njC)

BjF

alt.

AjH (F~jC

29

Hexatonics in parenthesis create a higher

non'""",

of tension.

B~ TUNE 8

B/F

(CD TRACK 13)

I B~

E/Bb (m/G)

(A,/D)

e·~~~~~~~~~~~~~~ 3,\

F7

(-7

F-7

B~1'l

Dt>/G

Eb/ A ((/F:)

~.\

EO B/F

(-7

A7'o9'D13

D-7

Eb/A

Dp/G

D-7 ((/F~)

(Bb/E)

G779

(Ary/D)

F7

B~7

(B~/E)

G7 miG

(B~/E)

B/F

(Ab/D)

~

~

--•

E-7

D-7

A7 B/F

•

B7~

E,/A

It

b~

EO B/F

t..

(-7

F7

F7 E/B~

Bb~

((/F~)

F-7

(m/G)

B~7

Dr/G (Bb/E)

D-7

(Ar/D)

G7r9 Dr/G

DO

F7 B/F

(-7

A7~9b13

(-7

(Ab/D)

F7

(-7

G7

G 7 alt.

(A~/D)

B/F

B711

(-7

(Ar/D)

F7

Hexatonics in parenthesis create a higher degree of tension. 139

1

Chapter 5 --------,

TUNE 8 (CD TRACK 13) I H

, , , , ,

G~j(

Hexatonic

e

2

Chord

7

7

Z

2

7

2

7

2

7

2

7

Z

B~jE

2

7

2

7

7

Z

2

7

7

2

G~j(

9

Z

7

7

7

2

7

7

2

7

2

B~jE

13

7

2

7

2

7

2

7

B-7

2

7

7

2

7

7

7

2

7

2

7

7

2

7

2

7

7

7

/

2

7

2

7

G~j(

25

~

2

7

2

7

2

7

7

7

2

7

G~j(

29

~

2

7

G-7

7

2

Z

7

2

7

2

7

2

7

(7

7

7

Z

7

7

2

7

7

7

2

2

7

2

7

2

7

7

2

7

7

2

7

2

7

2

7

7

7

7

7

2

7

2

(F jB) 7

7

2

7

7

7

7

7

2

7

2

7

2

7

2

7

2

7

7

7

2

7

BjF 7

7

Z

7

2

7

7

7

2

7

7

7

7

2

(-7 A~jD

2

7

7

2

7

7

Z

2

7

I

7

z

(Et>jA 7

7

(7

G-7

D7

(Gjm) 2

7

G~j(

7

(A~/D 7

7

F7

(F jB) 2

7

2

7

2

7

D7~9

A-7

A~jD 2

7

2

7

2

7

2

7

2

7

2

7

I

7

7

2

7

2

7

G~j(

2

7

2

7

2

7

7

7

D7 a lt.

(E~j A) 7

7

2

F7

(FjB)

A0

2

7

2

D7

(E~j A) 7

7

7

FL'.

E7~9~13

2

7

(E~j A)

(7

2

7

D7~9

A~jD

2

7

7

7

2

I

A-7

(7

G-7

7

A~jD

A-7

B0

B~L'.

7

(-7

(Gjm)

B~jE 7

2

A-7

21

2

Z

(A~jD)

ArjD (F jB)

7

G-7

FL'.

7

(Gjm)

E7

2

Z

(E~j A)

Gl>j( 7

7

FL'.

E7~9~13

17

7

7

(7

G-7

,

7

Z

B0

B~L'.

7

(7

G-7

FL'.

5

~

7

BjF

(EDjA)

2

7

2

7

2

7

FL'.

Hexatonics in parenthesis create a higher degree of tension.

2

7

G-7

7

7

7

7

(7

(E, :. 7

7

4

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

D-/C

D-jC

~

=teE

-r::

r ~ J

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.

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Chapter 6

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DESCENDING GRID: D-jC-

Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. F~-jE-

Bl,-jA,-

B-jA-

C-jB~-

O-jB

1 ~ ......

v~

tJ

'-J

~... '-,

tJ

, ----t

tJ

v

"

:fI"

, tJ

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tJ

1\

tJ EXAMPLE


EXAMPLE


D-jC-

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- jCTry 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=

-

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·-,

f)

e

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u

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1+ "'.

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,..,

u EXAMPLE

D-jC-

EXAMPLE

D-jC-

using

same melodic phrase from each starting note of the grid. G-jB-

C-jBr

using different melodic phrases from each starting note of the grid. C-jB, !""


.I

APPLICATIONS

c

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) I C

A-jG-

9

D-jC

G-jF-

~'~~/~~Z~Z~~/~~7~z~~/~~r~=--~z~Z~~/~~z~Z~~/~~z~z~~/~~I~~/~~z~Z~~/~~z~z~~1

... C 7 sus

F7 sus

B,7 sus

TUNE 2 (CD TRACKS 5 f27 6) I C

G-jF

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7

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2

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7

7

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2

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2

:7

7

D 7 alt.

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D-jC-

~

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2

:7

2

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7

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A-7

7

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'Hiili(

G-jF-

7

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7

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7

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G-7

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7

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7

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Z

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2

II

B7 alt.


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G-jF-

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7

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7

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7

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7

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7

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A~0

B7~9

F#0

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C#-jB-

D-jC:7

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CO

E~7~9

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7

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DO

£

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AD-

7

:7

7

:7

7

:7

7

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:7

7

7

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7

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A7~9

EO

II

TUNE 10 (CD TRACK 1S) I C

A~-jG~-

~Il

7

:7

7

B-jA-

:7

7

:7

2

:7

7

E-jD-

~

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:7

7

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7

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7

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7

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C7~9

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7

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7

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7

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7

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7

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7

:7

2

:7

F0

:7

7

:7

7

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7

:7

7

:7

7

:7

:7

7

D7~9

B~-j A~:7

7

F-jE~-

A0

2

:7

F#7~9

D-jC-

E~- jDD7

A-jG

q0

E7~9

C-jB~:7

:7

G-jF-

B0

2

7

AP~9

E~0

7

:7

F#- jE-

2

G-jB :7

2

:7

7

:7

7

:7

7

:7

7

:7

7

:7

II

B~7~9

,- 'I

.

Chapter 6 TUN E 1 (CD TRACKS 3 er 4) I B~

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

17

O-/B7 7 71 7 7/ Z 71 T7T TZ

25

n-/E-

TT

rTTZ

E7

A7

A-/G

(7 sus

B-/A7 7

rz

TZL

D7 sus

E-/D TTLZ

.t'l ,7 7 7L7~ ..

7 T 7Z 77 T

G7 sus

TUNE 3 (CD TRACK 7)

I B~

4

F~7 alt.

'-

B-7

E7 alt.

A-7

C::7 alt.

TUNE 9 (CD TRACK 14) I Bb

EO

A7~9 A~-jGb-

'-

'-

CO

G~0

b-jD,

p D9

B,0

E-jD-

B-jA-

q7~9

C~0

D-jC-

A0

B~7'9

F~7~9

F-jEI>-

DT,9

Epb9

D-jC

B7 b9

F#0

TUNE 10 (CD TRACK 15)

F0

G7~9

DO

I B~

E;:I0

B0 C-jB,-

GO

A,7~9

E7~9

b-jD,

C7,9

.-, I

TUNE 1 (CDTRACKS3eT4)

I E~

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

O-jB-

E7 25

F~- jE-

B-jA

A 7 sus

D 7 sus

E-jD-

G 7 sus TUNE 3 (CD TRACK 7) I E~

D

E

TUNE 9

(CD

TRACK 14)

I E~

E, ,

'

'

E7~9

B0

A0

GO

C7,9

F0

Eb0

Ab7~9

C:!0

D7~9

B~7b9

F~7~9

TUNE 10 (CD TRACK 15) I E~

F7~9

CO

B,0

AbO

D?7 b9

F~0

EO

A7~9

DO

CHAPTER

Eb7~9

B 7 b9

G7~9

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 , 9 1h and 11111 of the C minor chord.

F7sus, E,~7, A,t;.7, F-7, B,7sus and AO.

B,/C- can be used over

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

E/F=

B/C=

A>/B~-

EXAMPLE


EXAMPLE


A/B

B~/C-

Bb/C

C/D-


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

A/B-

A,/B~-

lfe

[TO

G,/A,-

D~/E,-

E?/F-

C/D

.1<:

T~

:J7

tJ

e

'-.~

1'1

U

,.. IT 7':

~

U

I'J. II

U

........

'll

,.. ......_.

n

U

17~

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...

'-~

, 7(

-T

tJ

<:. EXAMPLE B~/C-

~

....

"


A/B-

A,/B,-

G/A

, fiDJ Jij~J IdJJD jtJ] I,jJd ]~!~ J] I f3 J]m~ EXAMPLE

BI>/C-

using different melodic phrases from each stalting note of the

A/B-

A,/B,-

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

G/A-

notes of the

.-

-,

Chapter 7 APPLICATIONS

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


BbjC- (FjG-)

Hexatonic

~{l

'T..

Z

Chord

TrTZ

rTL7

7

7 7 71 ZZ Z

2

'I

,77, 772

Ai1jB~-

rZLL

////

rTZL

(E~jF-)

'I r'7T ,7'71

' Z ,7T B~-7

rTTZ

7

rTZ

Dorian

'I

7 7 r1z7 T

A~-7

25

, , , 'I

TTL

Z

C - 7 Dorian

*,- , 9

?

Ejn

F~-7

Dorian

(BjO-)

Dorian

33

0 jE

(AjB-)

41

CjD

(GjA-)

D-7

Dorian

TTTZ

r"'T7 7Z77

:liiIi

~. TUNE 14 (CD TRACKS 19) I C

B/O-

rlexatonic

~

z z z z

Chord

9

(F~/G~-) 7

~

Z

Z

7

Z

Z

7

7

z1 Z / Z /7/

77/ / I / /

ZZtt77J

/

C#-7 Dorian

A/B-

(E/F~-)

Dorian

<]

G/A-

A-7

25

F/G-

G -7 33

~

4

Et>/F-

(D/E-)

Dorian

(C/D-)

Dorian

(B~/C-)

~ , , ,--.L

=z=.L..~

F-7

t m

=z..:z.~

,

,

'--L

77 . . . ' E... , r7 r7 e L"F" , [ ..L

-7L J TL "

"r ,..

r

l

z

7'

7'

7'

FT---Z-~

Dorian

Db/b- (Ab/B~-)

7 T 7 T 7 L 7 T

Eo-7

7 ,LL. 'Z T T

,Z ,

Z/-T ...

zz-7~ z z z

,--Z~

z=7:T7

, r 7 7 / / 77"

,7 ... J.;=~

L

Dorian

."-I

Chapter 7

TUNE 13 Hexatonic

TRACK

18)

I Bo

CjD- (GjA-)

Chord

9

(CD

Dorian

B~jC-

C-7

(FjG-)

Dorian

Dorian

25

G~jA~-

(mjE,,-)

Dorian

33

EjF~

(BjG )

//
TTZ

·~····77771 7 7 7=::= ,T'. _, T 7 7

(AjB) rT22

E-7

2

Dorian

rrr7

7

7

7

7

TTr2

77

J1'

rT7

TUNE 14 (CD TRACKS 19) Hexatonic

D~/H-

I B~

(A~/Bl>-)

Dorian

A-7

E~/F-

F-7

Dorian

(B~/C-)

Dorian

,~ 'I

Chapter 7 TUNE 13 (CD TRACK 18) I E~

~. (;~;

,~~

Hexatonic

Gj A- (D jE-)

Chord

9

Dorian

FjG

G-7

(CjD-)

Dorian (B~jC- )

17

Dorian

25

mjE~-

E:>-7

(A~jBo-)

Dorian

33

BjO

(F~jG~-)

41

AjB

(EjF#-)

Dorian

E~

Ao/ B,-

-...~

te~7~

..

="""

~~~~~~~~

~

B,-7

G,/A,-

Dorian (D,/E~-)

II>

~ //2 • A~-7 Dorian

-

(B/O-)

E/F::-

~~ • F::-7

Dorian

D/E-

(A/B-)

.~

E-7

Dorian

C/D-

~

(G/A-)

D-7

Dorian

BD/C-

(F/G-)

t C-7

Dorian

CHAPTEH

8

The next hexatonic is one of the most unusual apart and can be used over many chords. EXAMPLE:

ones~ It

is two minor triads a half step

B- /C

B-/C

~

f

~

B-/C- can be played over A-7, A0, F~0, F7, A77, B7, D7 and E?ll.7. Of course, con text is everything! On some of these chords we are allowing much leeway. For exam ple, 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

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s _ . L j Ad J f r [ r!~!r ~ j~ r

..

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C = E~r

IE E t

r~ f~

E 2 ErE r]

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D-jE,

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

C-jD-

D-jE,

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

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APPLICATIONS

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

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TUNE 6 (CD TRACK 11) I B,

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B-jC-

B-jC

A-jBb

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(C-jC-)

E,7

C-7 (C~-jD-)

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TUNE 7 (CD TRACK 12) I Bb (B1-jB-) (G-jA,-)

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Chapter 8 TUNE 6 (CD TRACK 11) I Eb

5

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(C-jD-)

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G7~9

CHAPTER 9

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

D/C

D/C

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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. ~

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D/C

using the same melodic phrase from each starting note of the grid. F/E~-

EXAMPLE


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-

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CjB~-

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CjB-

BjA-

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

'I

APPLICATIONS

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

TUNE 6 (CD TRACK 11) I C (A,jF:!-)

•

E/D-

E/D

D/C-

D-7

G7

C-7

D/C-

(FjEb-)

(F= jE-)

(EjD-)

(E,jC=- )

(C=jB-)

(DjC-)

(CjBb- )

• F=

•

F:-7

E-7

B7

A7

TUNE 7 (CD TRACK 12) I C (BjA-) (A,jF=-)

,

E,-7

A77

(AjG-)

El>/C:

E~/O-

C~-7

F~7

(FjEb-)

(GjF-)

C:/B

,

B-7

C:/B

(EjD- )

E7 (E,jC=- )

(HjE-)

B/A

B/A

A-7

D7

CD jC-)

(C:tjB-)


F

G

9

B/A-

B/A-

F#0

B7~9

c

(o/C-)

A/GEO

A/G-

(C/Bb-)

A7~9

TUNE 10 (CD TRACK 15) I C A,/F~-

(B/A-)

A~7,9

F~/E-

C~0

F~/E-

F~7~9

o/C-

5

E

C/B,,-

9

GO

C7~9

A

(b/O-)

Bi>/A,-

F0

(A/G-)

(F /Eb-)

07 Bb/ A>-

(O/B-)

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 in this context over a major 7,5 chord. EXAMPLE:

C-/O-

PLAYED ON B7~5

(-jO B

3

!J.7

apart," can also be played

TUNE 6

fe

7

7

7

7

7

7

7

7

7

E-7

f f 9

7

Z

Z

7

7

Z

7

7

7

7

7

7

7

C-7

7

J

7

7

7

7

7

7

7

7

7

7

7

7

7

7

Z

7

7

r7

7

27

Z

2

7

2

7

CjB,7

7

7

CjBr2

7

7

7

7

7

7

7

(E,jC-) 7

7

2

7

2

7

7

7

fe

f f

I

r7

7 Z-

r7

r7

(CD

(CjB-) (B,jA,-)

r7

F-7

2

7

A,jF~2

7

2

7

2

7

2

r7

TRACK 12)

r7

r7

7

(BjA-) 2

7

2

Ir

r7

7

r7

Ir

r7

r7

7

(F~jE-)

OjB-

r7

(F jE,-) (DjC-)

BjA-

r7

r7

r7

r7

A-7

r7

r7

r7

77

(GjF-)

F#7

BjA-

7

AP

E~-7

7717777 r7 7 r r r r r r r

q-7

2

(BjA-)

(A,jG,-)

FjE,-

(AjG-)

EojO-

7

I B~

FjE,-

B~7

E~jC#-

7

B7

F~-7

GjF-

2

(DjC- )

D~7

GjF-

7

EP

A,jF~-

(DbjB-) 2

7

2

(EjD- )

B,-7

B~j A,-

7

G7

(EjD- ) B~j A~-

.t3

(B,jA,-' (GjF-)

EjD-

D-7

TUNE 7

9

7

I

F7

A~-7

5

7

(A,-jF'-) (F jE,-)

DjC7

I B~

EjD-

A7

DjC7

TRACK 11)

(CjB,- ) (AjG- )

F~jE-

F#jE-

(CD

C#jB-

r7 7 r 7 r 7 r

r7 7 r 7 r 7 7

B-7

E7

AjG-

r7

r7

D7

(EjD-)

(E,jC-)

(CjB'-)

AjG-

r7

r7

r7

r7

G-7

r7

r7

-)-J

r7

C7

TUNE 9 (CD TRACK 14) I B~

AjG-

fe

5

f f 9

7

7

7

7

7

7

7

7

7

G#0

2

7

7

7

7

7

7

7

7

7

7

7

7

2

7

2

7

2

7

7

7

F7~9

7

7

7

7

7

7

7

07~9

7

7

2

7

2

2

7

7

2

7

7

7

7

7

F~0

7

I

7

7

7

E,jD,2

7

2

7

2

2

7

7

7

7

I

7

7

(F~jE- ) 7

7

2

7

7

7

E,7,9

BjA-

(EjD- ) 7

7

G 7~9

Br 0

C#jB7

7

E,jD,-

(A~jG~- )

(B~jA~-)

GjF-

D0

FjE,-

C#jB7

7

GjF-

A7~9

C0

2

Z

E0

FjE~2

(CjB~- )

AjG-

(D jC-1

BjA7

7

2

7

7

7

7

7

B7)9

7

7

7

7

7

7

H

Chapter 9 TUNE 10 (CD TRACK 15) I S~

Bbj A~-

A,jG~-

(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.

(BjA-)


I E~

~

(G/F-)

(E7/C=-) 5

(B/A-)

TUNE 7 (CD TRACK 12) I E7 (A>/F=-)

(D/C-)

(E/D-)

A7jF:i-

A~jn-

F::-7

B7

(C/B,-)

(B,/A7-)


I E~

EjD- (GjF-)

DjC-

DjC-

B0

E71>9

A0

D7,9

CjB,-

CjB>-

B,j A~-

B,j A,-

EjD-

GO

C7~9

(bjC~-)

(B/A-)

F0

(FjE,-)

(C~ jB-)

B,7,9

~~~~~~~~~~~~~~ ..:

Chapter 9 TUNE 10 (CD TRACK 15) I H

;~~;

."'9;."

"£1£b

B

9

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) I H

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 a C7 chord.

~

or E,-iA- can be played over a 0 diminished chord

EXAMPLE

Eb-jA /1..7

9

11

,5

,13

'9

t11

5

13

,13

:13

/1..7

9

3

11

:9

3

:11

q07

F~- jC-

Eb-jA b9

13

,7

C7

I

11

1

_«

,

.

J fJ~J~5#fJ J G~ [#[

r!f t rfi- [!F#C trr rEx 4!,'

r r~[ E!pc r [rt~P#r Id Ed J REdS JEJJ4!,'

l~

Chapter 10

H-/C

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L

DESCENDING GRID: F~-/C-


.-.. .

,.,

F:-jC-

A,-jD-

G-jC-

A-jb-

B-jF-

C-jG,-

G-jG-

D-jAl>-

E~-jA-

E-jB~-

F-jB

U

1\

...,

~

U

I I

!

,., :u

._

'LJO

,

~

~.

u I

1\ ~

U

I

1\

~~

EXAMPLE

using the same melodic phrase from

slarting note of the grid.

A,-jD-

EXAMPLE

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

F~- jC-

I

A-jE,

A,-jD-

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

~--

=n

----e--- i

-e

~

-e-

I-'~

~

u

- -

~

.

...

I I

..J. ..L

ro~~

~

~

i

-~

-

..

!

I

i

i i

~

-LJ r'\ ..;;

.

-::::z.n

!

I 3:I~

'-,

I

i

TY

-LJ

~

t.

i

L

I -I~

" i !

I

~~~-

~~~~

11 r'\

t.

~,

t-

I-

J--l10

~~-

v

-8

!

()

-~

i !

i

I

II

~~~--++

~~~~~

~~~ra-~

~ ~~~-'---~~

EXAMPLE

using the same melodic phrase from each staning note of the grid.

F~- jC-

F-jB-

E-jB,-

E,- jA

=-till3 J 3.1 rtJ 4¥1 ~fJ~lJ ~'9@=giJ·~ 3...- ~~0 : EXAMPLE


H-jC-

~

d~ ~~ ·JiJ Cb::

m 5J MtiM ~ ~ r~r Fir dJd F-jB-

I

E-jB1-

I

E1-jA

il I

JM J;-F


E

m~·-

APPLICATIONS

c

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


A- jE~-

Hexatonic:

D- j A~- (B- jF-'

(F~- jC-)

Chord

B- jF- (Ao- jD-)

.5

A-jE~- (F~-jC-)

9

B- jF-

C~- jG- (B~- jE-)

D~7

G7

A- jE~-

B- jF- (Ab- jD-)

C~7

(A~- jD-)

(F~- jC

Bt>~7

D- j A~- (B- jF-

21

c- jG-

(B~- jE-)

B- jF-

(A~- jD-)

F

2S

A-jb- (Ft-jC-)

B-jF-

C 29

A- jEb- (Ft- jC-)

Fait.

A- jE~-

(F~- jC

TUNE 8 (CD TRACK 13) I B~

E-jB,- (C-

B- jF- (Ao- jD-)

'"exatonic

Chord

(

F

E,- j A- ((- jF::-)

3

E'6 B- jF-

9

b-jA-

0- jG- (Bo>- jE-)

((-jF~-)

G7

B- jF- (Ao-

0- jG- (B,- jE-)

D-7

G7

(-7

B- jF- (A,- jD-)

17

(-7

F7

Bn\

b6

EO

AF9?13

B-jF- (A?-jD-)

F-7

0- jG-

D-7

~

F7

E-jB,- (C-

((-jF~- )

21

(B:>-jE-)

G7,9

D-7

D-7

A7

25

O-jG-

(A,- jD-)

F7

13

B,7

F

=

B~7

(B~- jE-)

G7~9

O-jG

alt,

29

B- jF-

(A~- jD-)

B- /F

:1

,.

..

",''',''-

• • I< '"

~

~

.

__

TUNE 8

(CD TRACK 13)

F~- /C- (E~- /

Hexaton,c

I E,

A-)

B-/F- (A?-/D-

Chord

B~-/E-

5

9

F~- /C- (E~- /

13

B~-/E-

B-7

A-7

D7

G-7

C7

C7 B- /F- (A~- /D-'

(Et>- / A-)

FIl

C-7 A~- /D-

B?-/E- (G-/O-)

21

F#-/C- (E~- / A

A;,- /D- (F-/B-)

(G-/O-)

F~- /C-

(F-/B-)

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

A-)

E7

G-7

A~- /D-

(G-/O-)

(F-/B-)

A-7 F~-/C-

(H-/A-)

A~-/D-

alt.

F#-/C- (H-/A-)

F#-/C

(E~-/A-)

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, F~7, A~7 and B,7. D+/C+

~

.".

L..

It could also be used on minor chords. C+/B+ could be played over C-(A)7, for exam ple. In this instance, it is the C that is the unusual note that creates the rub.

O+/B+

~ /\7

mm

=~=m

r

3

C>9:

'j #

~L

11

5

J

r

m

13

....

~

d ....

C-A

~

m

'I

.

-

-

-

---::J

-I

---<

~

J

-

=j 1-1 1-1 1-1 LI

DO/CO Hexatonic twelve is two diminished triads a whole

apart.

DO/CO

~

r -j ~r~C ~ oi I'~

For example, DO/CO can be played on diminished or the dominant chords A,7, B7, D7 and F7.

chords: C07, b07,

F~o7

and A07

BO/CO hexatonic is another that can be played over those same chords. BO/CO

~

Fe ] &r J-'r~

--: I

-

-

Chapter I I

1

d

7

J ..

9

-

I

I

-

...J

ll.

-

-

B-/C+ Hexatonic thirteen is a minor triad over an augmented triad separated by a half step.

B-/C+

~ For example,

c

@

~

~

could be used on A-7, Ct>7=5, F:0 or B7,9sus4.

/

. :I

:,

~'.~.

<'

•

•

B-/C+

~ .. 9

P

. . . ~ J -

-fill 3j; JIr

~r r~E~r IT1- U A

Err J :![ r r L

.~ i j J~J J;3 J~J ( r E!f r F · ok

b

IT

Bb+/C

Hexatonic fourteen is a major triad and an augmented triad separated by a whole step. B,+/C

For example, Bb+/C could

used on

E0, C7, B,,\7~5 and F:7alt.

~

-'-1

,

1

.

I

L

'

T

T

J

I

3

. . . . • •.f=.

I

I

'JJL

11

I

I

I

I

T

..

BO/CHexatonic fifteen is a diminished triad and a minor triad separated by a half step. BO/C

,

~I

I

(

J ~r J ~J :

For example, BO/C- can be used on C-7, F7, A0 and B7alt.

~

-: I

..

:• . "'". r • ~ 4 ~ • ~

it~E ftc E£r"FlI r Eb~r r j J J Jd49 ~ J

11

H-jC Hexatonic sixteen is a minor triad over a major triad, a minor third apart.

E.-je

~

~ L

~

".. . J

Since this hexatonic is another subset of the diminished scale, E,-/C fits well over C7, B7, F~7 or A7. It has a nice "bluesy" flavor, too.

'.

",

...

.-

.

E:>-/C

t j JJ

J d ddqJ I[ F

[1 ~jd IJ J~F c["Pr E~[T IT ~f'F'E ~F

,- r f FiE'f~f~t r [JoE'fcFi iJdd oJ JIJ ] JUd 21J

,9 13 Jdd;JI] J~.fdIJ J CPriE C[OE~F~f fFbr gr eta

f [erT~r [ f Ebe r~f EcbFbf m[ [~F J J J J~J d IJ ] ]dP

"

~ ~f b , iJdddjJq]d r [ ry r nbf~ rbF f;~[~Ebf J

r

APPLICATIONS.

Try applying any of the hexatonics to progressions 13 and 14. For example, over the C-7 chord, try any these hexatonics: FIE!>, D-/EI>, D/b, D+/E~+, D-IC-, B~/C-, B-/C-, D/C-, C~+/B+, G+/F, D/E~+, BO/C-.

TUNE 13

(CD

TRACK

18)

IC

(-7 Dorian

17

B~-7

Dorian

A~-7

Dorian

E -7

Dorian

D-7

Dorian

@~~~~~~~~~~~~~I


C~-7

9

33

Dorian

B-7

Dorian

-7

Dorian

F-7

Dorian

~ 41

////17:///

b-7

Dorian

7

777

Tr1~Z

L

L

L

L

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

//L/

TTTZ

Try applying any.of the hexatonics to progressions 13 and 14. For example, over the D-7 chord, try any of these hexatonics: GIF,

ElF, E+/F+, E-/D-, C/D-, O-/D-, E/D-, b+/Do+, A.,..G,

1

OO/D-.

TUNE 13 (CD TRACK 18) I B,

D-7 Dorian

9

C -7

Dorian

17

B~-7

Dorian

.! . . .

ZJ.iT7~~r. . . . .-C'. FTz:7.:.'1 .. ~ / / / 9 25

G#-7 Dorian

33

F#-7

Dorian

41

E-7

Dorian

~...'" .~ci~~····i~~~~··.·'+=~~:S~; . ~. ;:;~'~I~~'~···~' ~~~T~.~"~~'7~"""~7~g~; '7771 ,_,,~, , ~ . . 7...... . / / 77jTZ/

~~~~~~~~~~~~fZ~1

.I

TUNE 14 (CD TRACK 19) I B? b-7

DOrian

9

C~-7

Dorian

17

-7

Dorian

33

G -7

Dorian

41

Try applying any 9f 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-/A-, G/A-,

G~-/A-,

If"'

B,+/A,+, E+ID, B/C+, G:o/A-.


A - 7

~

Dorian

777

Z

7

7 T Z Z Z T

9

G-7

Dorian

17

F-7

Dorian

25

E~-7

Dorian

77 7 z7, Z2 Z7 7

7 7 7 71 z7 z777] z

Z7 Z7-./~ 7 7 L T L 7 L 7 L r

z Z Z TT

777 7 2 z 2 z 7 Z

L

L

L

L

7

L

Z

L

ZZ: L

Dorian

41

B -7

Dorian

@~~~~~~~~~~~H

> -,


9

Ab

7 Dorian

Dorian

25

7

Dorian

ACKNOWLEDGMENTS I wish to thank the following people:

Adam Roberts for help on the book. Jeri Bergonzi edited and wrote the text.

Hans-jorg Rudiger for suggestions and putting it all together.

THE MUSICIANS

Andrea l\1ichelutti drums (plays Bosphorus Master Series cymbals) Renato Chicco piano Dave Santoro bass Jerry Bergo1tzi plays Selmer saxophones, Rico reeds and uses Zildjian cymbals.

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UHexatonic scales are six note scales. This book presents apractical method for the construction of hexatonic scales that are useful for both the improviser and com poser. Many modern piano players use hexatonic voic ings by stacking the triads to create aparticular harmony. We improvise ··in" the sound of the voicing and using hexa tonic 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

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Jerry Bergonzi Vol 7 - Hexatonics.pdf

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