Professional Documents
Culture Documents
Jerry Bergonzi Vol 7 Hexatonics PDF
Jerry Bergonzi Vol 7 Hexatonics PDF
S:JJU011JXJH
L ·lOA S31~3S NOIIVSIAO~dWI 3alSNI
IZNO£H:l39 A1H:l3r
.. .
! :,,-·X...1t~)r:1L-:'
"~::,1pter 1 D C
C::,1 pter': 13·- C
C::a ;'ter 3 13 C
,,~:;a pter -+ 13- C+.. . ................ . :! 1
DO/CO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
13-/C+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .273
B~+/C . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .277
BO/C- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .279
.\~k!1()\\·ledgments .................................................289
CD CONTENTS
TRACK TITLE
01 Tuning Note A
02 Tuning Note B,
03 Tune 1 (medium)
04 Tune 1 (fast)
05 Tune 2 (medium)
06 Tune 2 (fast)
07 Tune 3 (Latin)
08 Tune 4
09 Tune 5 (medium)
10 Tune 5 (fast)
11 Tune 6
12 Tune 7
13 Tune 8
14 Tune 9
15 Tune 10
16 Tune 11
17 Tune 12
18 Tune 13
19 Tune 14
DEMONSTRATION TRACKS
20 Hexatonic 1 on tune 3 (chapter 1)
21 Hexatonic 3 on tune 6 (chapter 3)
22 Hexatonic 4 on tune 8 (chapter 4)
22 Hexatonic 6 on tune 9 (chapter 6)
24 Hexatonic 8 on tune 6 (chapter 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
\i~~~~~~L~-~~····~r~~f~
l~ ~
-f
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.
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
EXAMPLE
D triad
C triad
, r 11. ~J .. 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
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
111 traduction
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
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.
:I
DC
.
~
..
J ±; J J r [ r L#[ L t
~';U-~~
• 7 •
-%. : J J J#J tJ
r?
# L
J:d ~ J J
.8. ~ :E E;d.f.. #F_ r f r j #E rJ r f L r !
#
~.;
~~.•~..~~~~~§ ~~
J
...
_ _""""1
1\27~
I"'"
•
-
I 1.......J ..
31
r J j j 3 .r; J J ] £J J J J J J InJ J J lv'
J J# J-g # mmm
cV,
C±,. ErE·
~ f r [# r ,.rj-~J ~JJ jJ J J J } J, J ~
- j W
J J j J J J [# t'-[ T r eIT ~ ,
r [ EL n ov"
) T i rll'C
E ! E ITt 6£
J J J J J," J J J [:. n·t:~ [ L r f~
~..
. ~"
, Oc
. .:
Die
=i
=i
~
57
• I I I
I
EE . rrf E[ .t -;
I'
l~-:cc~~.
-------+-WE~p [i '.
r Err~ I$~ ;]J ~ ~~-
J ~. f:~= J/ ."
4i}f
zL
· J FJ ~j J J j ] d bJCW-tltr E r t~F t g~f f er ~ El LL
·~'¥clrr [ r~FJ t f r r J J j j j J~ ] d J ] J.J JJjFg § j oL
~.~~ . Jl ] J~~~-~~~7t-.. .~..=-h ~ ..... -11' ~
c=-=": oJ J[ L cvnr r. [r F~~1=W4=@J:t i 69
·L-;iJ1J ¥lJ.fJjl&iij:=l~~#;m.
89
~j#~LTf¥L~H1=fI~
L9
~rfflJ .J4li=t=11ff~P*
99
~~-wdl~~L:-Sj~ji&:rg~~~
5'9
•. ;;=fEU c r~r=pj--';;g J J=&1iJj~~
V9
. r F [} J j J J E b t r~E.IY~ [ E [J' E: fir f E# t r4f
£9
Die
~ til
*t r8
9
LJ dFfi [ E rj F~r rf J J~J J J J j 3J J#l3 ]
.b. i
~ g:
n
Dr r [ [ [I r=j j Jd J J 3d BJ 3 J J=i]* J J JqJ ~ g ~ ,
- n~ J J9J~ J J3i J J J i J 3Ji J J J WI f j E;I Er ~ r ., kk
rd f4 FiE r (1 J-3 13Ul) 0 :l JJq3 jlJ 9JqJ J~ :,'
~ JQ rj"j~§ j j ~J=JnJJdlE r Ff!t.£{tcc t r~ 6
GElD fiff ET€Jl G J fj-j~J~J tf~n15i * 9
l-rlJq W4 JILL] J-fffF:fff~W~ L
IE- . ~- -d J dd ~ 57
gj JqJ J jp LJ Jn J J JI J J EI g r; f:PF~ s
J hj ~ J J~~i ~ J ~~ J J I J J J J J 1 J
=?= i '-: -'7.!
_- ; r J J ]d= J J : J; J ~I; r ~ ~ i' : .:.... • T_lr .. ~--±,.
..
, : .; ; ..~.:. ~ -
CIB"
.-.
r IT Gqc cr 8; q~
t 4 ••• .
fJ j ll\B J-r1
7
~.' 8
ii J J1;£J.J ~ Pr! Cr fj~ f [E t··C
q "
]
.,=" .. "J;." .
71 :a.
•=
,.
~~~~~.~~~~~~~~~~~~~~~~
. .
.._mmmm . . 1/1
...
•
9
..
',1:. . _
-Zr- z~ .
•
fI
m~~~···~~
:l a ;p :l j JJ J JqJJq:l JJJ J?J JJ J JgJ;%~?
..
~;;:~···""'--~~··········~II-E.m.~.~~~-~~~...~.mf§cr~r~J~t!~1Fg[!~L~r!rfl;g~L~rI'¥1J~r~~m.~
t. ~ ~f!:. t ~
~~~~\¥7J~.~·4d§EE~·.~Lr~f~L~rr§l~I"~r=~r!~~~r~rf~[~~F~~~~.r~····~~.-
2
-~~~~~~~
~~~. cf Lgi=H4#H±r1rt R F:rtf trT
=t~~j8TItjf[tfEf-E!t#ffF&1-~=:
i~~&~1tr Lyt=€=fti J J~Jtt r=r- fif$3 r
:V&p J J fJ J Jq[ r r r[ PH r f r Err f~ (r fJ tf --=
.. ill
tT~---'· .~s" .. p~tjj42 3d J J 3~J 13 &~ JJ#3~ #I;~~~
J$ifJ J 3#J J£3#3 J fJ~J J r r r f dE r; L'F r~ #I#~s? lL
. gr rr E! E! r IT: Er f; i 3# 3l J J J J# oJ Jj j n J9#'##I? OL
t1 Jj£J#ijJ j J ad J JJd] cr Hr cF fJ~F€h, #_, ~ 6
EMMtL[ F rj4ff=riJ J#JEf fJ J-J J2: J JJl11~;f 8
.-. ~Ll J.§;#Ff·[!rBFS· Qg [_~ L
-: - .--=-+-f:F*~s ~~~i§7 E~._ ~
c1 d J J#J J~ ff%R7
p=?=- _--.
~-~ · • ·_····-1 t j J4=J=WU JiM tr:~ Lef f--r #,##, t ~
oJ ffjp f~ Ja[3d 3~j ] 3J Jd J3 J J I ~ #I##ff
f
J Er~rl L[ fJ JJ J J~j J j J ~J 3d JJ J~ #,##, ,
FUE
I..
2 JL
~. -~ • ~ #~ ~. ~
fi Ef § = ; r [ rEf [ t'e f r
#
E:~ L F jiB Ff
I
74,~gr ~#~ i#~-~ ~ ~
~ - T :a=bi F:;J::
. G~fu
H~ .
Ery=€EtP=-==gj
._..
-----=j
,·#fJi1M~1.~Itt F rJtftrfF
7
8~
¥Z~~f:!~· • Fr=€tJ JJEltMj. aw d
'g(:!tf::j!tf=tfEt!
PJ J ~iO 1%P tJ JJ [ [ EJ r r~[ r cIT f;#c r ff lc E
oJ
i;~~
~ f: t[Pt r f r#[ r ~ f#E~ t:~ CE - J JJ~ j J
L ru J
~J .t:: E ..J
~ ?[J
~
-.
~ l:i 11
71
II:=
fJdJ J3 fll JJJ#J JJ fJ Ja EG [ ; [cffEE §-f #6'
. oJ c!E r.JL J 3 J ] C!E r ; J fA 1 ~J ll-n#J 3 ; Jj J~
DESCENDING GRID: D IC
,
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
•- I
I i
! !t'.J
I
i I i
i .-4c+
..
~.
I
I
-It .....
I
!
~
-
~
..
-e. 1'T
.. ~
I i
Il.
'W ..----6
f) i
t
~ ..
..
f)
!
i
Il. i
..
=W..
"
EXAMPLE using the same melodic phrase from each starting note of the grid.
EXAMPLE using different melodic phrases from each starting note of the grid.
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~
,...
1'1
,...
u
,...
U -e ~
1'1
EXAMPLE using the same melodic phrase from each starting note of the grid.
EXAMPLE using different melodic phrases from each starting note of the grid.
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
APPLI CATIONS
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.
c
FIE,
t
~~. ,Y"C F7 sus
B,/A, F/H
L
B,7 sus F7 sus
B71 A, F/H
B~7 sus
B,7 sus
t~
D7 G7 (7 sus F7 sus
B'/A,
.~
B,7 sus
"
TUNE 3 (CD TRACK 7) I C
,;t
5 D/C BD/A~
A-7 D7 alt,
t...
Chord G 7 sus
t.
C7 sus G 7 sus
~.
t.
7
7
7
7
7
7
7
7
:'I
~~ c/B~
¥=zzzzi C7 SUS
rTTZ
7 7 7 7
rTTZ Z 7 TT rTTZ //LZ rTZL
9 C/Bt>
~
7 Z Z 7
C
,. TUNE 1 (CD TRACKS 3 eT 4) I H
Hexatonic Die
~ z -:::z
-::z
L.
-::z
L
-::z
L ~ 2
2 -::z
L ~ -::z
L. ~ -::z
L ~ 2
-::z
L. L ~
Chord D 7 sus
5 G/F Die
~ z z
7' 7' Z 7 ,1 Z 7' 7 7' 7
7 Z / ,7 2 7 2
I 7 7 / 2 7 2 / 7
G7 sus D7 sus
G/F
~ Z
L. ,
7
L.
Z 21
L.
Z
G 7 sus
G 7 sus
B7 E7 A 7 sus D7 sus
G/F
~
It
//// L
2 L
2 L
Z
L
7'
2'
7 L 7
rz7
Z
7
Z
Z
7
7
Z
Z
rTLL
7 7 L 7
Z
z
7
Z Z 7
Z 7 zz Z Z 7
Z Z 7 7I' r
Z7T
Z7Z7z II
G 7 sus
Chapter 1
0-6 9 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:
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
*1 p~7i3W#---=ftl-l_~t-j~#-@*~,,=:~~
~J4=A:#FH~m:f=-:ftjt-%~~=---==
~IW4--t--± J {tfi=!;~i ~~~£Et=;~~=~_~-
'!~I~~~-=-rd~~=~-~C:=
25
.II..
J J J#0 If
4=:1 J J;J [ Err [ r r C r ~rj F I
26
, 27
raj jJ J~J
J ~ J L j ~ J J~J
--f/I
1 t FE E r j §ilE fi
~
fir.. •
I
I
28 ~
>=- • ~-
!It • ~- - I .
--fIi.--.J-
T
i l I I I ... •
29
~mj~J If r -~ g
J J#J Lr r J EE H~ .. ~
3°E
rI[ f [ E r ~r~
= 4!;f!i
JjJ3 j
J¥fiW=T -..
'-.
.. ~
. .
31
J J J#l J J~J
pad
~
f] r r ctr r IF
L r ie f f •.
- .
.. ._]
- ..
33
g~
ji J J J j l#J
~
3
L r r J ('f r
[ r Elf II.
I I
34~
; =lE Fr j rIf ]• [ r r J]1 ~
~ 3 J J~~ J J
,+ I
j
36~
; [ f J• [ er f §~ r #c r rfr J ~ ~ ] iJ J~ _
~
"
J
r I
- -
1-;
:t
a 3 J E [II r J.. 2 3 f.
E~n-~
J aJ J ill a J 3J J ~ •
,. ~ ,. ~ # ,.~r J J J J; J J J t JJ J =<.?
11
r E r Ff
~# J J J ] J a JJ J J J an-a J J J-L?•
6£
J; J J ] J J J ] J
t 3aJij JJ: J JJa J 3d JJ; J].,?
B-/C
'" • • ~
tJ . • I- I I I J -
f J J J ] ~c: r [J ~i J J J*[ r r ~ cr f~ t c r;
~60r r [! E[ r 1 t IT r!f E r f i If [ r1 *r f. rJ
-cUrE un F oL
69
.,. ,.
oj
ritB £J J~#J J J cE [J Ct U cE f1 U#t~1 r M~L9?
C r f J-
r t :T £9
1.9
B-/C
~.
'" .
• 9 ~~? aoj J J JJ J J J L Err crt; r
# [ ~ tfgr F~ 2 r ri ~[ r r f [ r [t fJ ~J J r
u · U F---=----:::===1
taJ$iE£-m-fn~tt [- Er-;H=--R~-=-=-===J
~Ffttf£~~
. ·-lf3=gjr ~ gti gjr~ -----2J
• .~ <J ~ ~ (0
- ~ [ IT q
FJI [ f r · £J1J J i ] a 3 J JJ3 J JJg~J J3:,'
p J ~ J JJ -tJI ~ Jt E r Fit E
rJ Err J:-1
j J J J 3 J i- J! JJ [! r IT FEE r E •~,
" ~~ JJ J J JIJ JPi] J j Ii J J JJJ J JLF~r ~ r
it
~ ?~f:::~ J........ ... . . - 6"
FCE't~. . :. . :.• ..j n
~~ ~=~- ·iJ -
[ r f:!= [: r r~ [ r FF v~
...... -
II
f'- re
JIJDd31i~JiJ~J~3~ Jair! [#[g r~cr F!f#[jiCF~~= F[1
I
#1#\'
L
r f\r:F t f r f RiJ 3 hJ JJ j JJ1 J Jd g ~\~
~
..<.i!-:c
J'_
C:-/D
9
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
Km··
tJ
fi 1+'U
i
.... f'I
. ~
f'I .1
...
.tJ fl" "
f'I
~ .....
,., I
tJ
EXAMPLE using the same melodic phrase from each starting note of the grid.
EXAMPLE using different melodic phrases from each starting note of the grid.
B C-/C~ C~-/D D-/b
t..
t..
t..
to
EXAMPLE using the same melodic phrase from each starting note of the grid.
B-/C B,-/B A-/Bb G#-/A
EXAMPLE using different melodic phrases from each starting note of the grid.
APPLICATIONS
G-jAl> D-jEo
BPsus F7 sus
9 G-jAb
7
L
I" fL 7 7 z7777177771
z z r 7 TTZ 77 7 Z ////1////1///4
BPsus
07 G7 C 7sus F7 sus
G-jAb
rTLZ
77 7 7
,Z7 rz
7 771 7 77
77,7 'I r'TZ 7 ,Z Z //// 2 727 rTLL
BPsus
TUNE 4 (CD TRACK 8) I C
Hexatonic
B-j( D-jb
~ ,r T
, 7
, 7, 7 , z , z , z , z r7 r7 r7zL 7 ,z , z , z ,
f , , , , , z Z 7 Z Z 7 7 7 7 7_~:
e
L L
, L
, ZL L , L Z 7 7 Z rrTL
L L L , ////
Chord A - jD (-jF
B-j( D-jE~
A-jD (-jF
'7 (-jDI>
~
,7 ,Z ,Z ,Z ,_7 , 7 , 7 , Z " , 7 , 7 ,Z , 7
z Z Z 7 Z 7 7 7.1 Z 7 7 7 z Zz 7 z Zz
z z z Z
" ""
//// Z
B~-jE~ DtI-
I Chord G 7 sus
'
~
D 7 sus (7 sus G 7 sus
TUNE 2 (CD TRACKS 5 er 6) I BJ
(7 sus
17 D-/b F-/F~
7 7 7 , 777 7
//// rT" //// rz IT rTTZ r r,z //// rrZ7
7 7 Z "
(-/F
25 (~-/D E-/F
777 7
r2 rz rTTZ II ,7 r, rr 7 TTL 2 rTZ ,"77 ZZ 7 7 TrTL
B-/E D-jG
" TUNE 1 (CDTRACKS3eT4) I ED ~
--1exatonic B-1 C 1:
~e rTTZ-
7 7 7 7
rTTT
7 7 7 7 7
rTTZ-
7 7 7
rTTZ
7 7 7 7
Chord D 7 sus
E-/F B-/C
~ r7 r7 r7 r7 r7 r7 r7 r7 r7 2
7
r7 r7 r7 r7 r7 2
7
G 7 sus D 7 sus
F~-/G
£
U
r7 7
r 7
r 7r
E-/F
r7 7
r 7
r 7r
B-/C
r7 7
r 7
r 7r r7 7
Z-
77
r 7
E-/F
~
f.-
,
z , z , z Lz
G 7 sus
L
Z
L
Z
L
7
L
Z
L
7
L
Z
L
7
L
Z
L
z Lz Lz Lz L
z L
Z
L
Z
L
7
L
z Lz Lz Lz L
z Lz Lz Lz ,Z ,Z , , 7 Z_
E-/F
~
f.-
, z ,z , z ,z L
7
L
Z
L
7
L
Z
L
z L
Z
L
Z
L
7
L
Z
L
7
L
7
L
Z
7
7
Z
Z
Z
Z
7
Z
L
Z
L
Z
L
7
L
Z
L
Z
L
7
L
Z
L
Z 7
rrrr-
7 7 7
G 7 sus
£
f.
7
B7
7
7
7
7
7
2
7
7
, , ,
7 7 7
7
7
E7
7
7
, 7, 7, r, T, 7, 771 7
, 7, 7,
A 7 sus
7
7
7
, , ,
7 7 7
7
7
, ,
D7 sus
7 7
7
7
, 7
7
7
7
7
7
7
7
E-/F
£
f.-
7
7
G 7 sus
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
7
7
7
7
7
7
7
TrrT-
7 7 7 7=)
Chapter 2
B
3
CHAPTER
-
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
)1 ~ r It· [n J
) e-
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 9 th 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.
:' I
-. . ..
.'
.
'-'."
~
......
BIC
mYl
J Wi WI J 3 j J sa E [ n; Err t dr r-j t
E
..
6L
" '.
# 'fw"
~,,~ . c
~
'r ...
BIC
il
j. · §
C E n~ E ~ E1 == == 2-==
mj~ ~ ~
I
-~-
----
- -
11 I l..J
. ..
;;~~~1 St
•
E r rf: f • JI J ; • J! JI J i J J# J--i-i~ J ••t?
·
.
, ~e r [# ~ wi J J J J# W, J J i W, J W,!..
•
6£
BIC
I
...•
- Jj J]-J;j J1J#-W JJJlJP J,Jj jdiJ 1#2 J;4b JL~•
11
d JJ J-J J ] J"=i J 2 ] JJ J3, ~J J"Jd JJ3 ~
BlC
=ttll tJ [4 !f=J4~t:r~digi§gii~t-$1 . •. ~
W~-WJ~ftfPf~-V=~{~c=--~
~Jr=fit§ E eP'r [; 4fd#J jlJ J dJ ~Jl§ =:3
i
~. ~ ~
£9 2J~#~! J
~
J34~j~ ill J ,fir = · EfinE r r!jlmJ~fi:==J
~ ~ tJ
1 IT E
.. , .,
,.
....
2 JL
8
I'. I ...... _ L .",. _ II T ... L -
11
I~~t. -" ~. •
•
•
J ;$J J#J fJ q
J] J Jd~3#J J j J Jag 3 2 J:O v.:
i J ~J JJJ 3d 9 j J J J ~ J Jdq j J J j V,,.
I-
Ic~ ::'E>-,r-: .:.:j j ~ JiJ JD ~J Jdqj J JdqiJ J JqJ Jd ~ v<,?
~_111=-J ~ f3 qJ JfJ~3P ; JEJ~J J J JqJ Of U [!flf ~ ~~5!?
*: . ~ LL
6
r T 1 .~ .
....... ~
I.. • I '1]
- ~
r c;....... 3d J Jdqj J JqJ JJ JJqg ~ ~~~<t'
Fj 3 i ~ fl
q" q W
dJJJ 9J 3 J ~ 3 J J ~ = = C[I fJ [I 0= f C ~Ns'
q
W ~jdq Ji j JJJ Jd qJOq j J JJ J= JJ~ JJ Jgg ~~q9~~
~--
FG,
L
II t;:c~rijfTd~MIMBd~J~J;Jda~JqMd~J;9AJdd~3 ~ ~I~~~~
~~~J~JdqJ~jp~ WIJ~£J~ J!J ~J~ P rr! rif~jg [#c#r jg r~rf #I:\~
er~( f f!f~O f f;! ci rtF ijJ~ J! WJ JdP~ J J J~J~J~J j J ##~~~,~
g
J"J~fJ~ M~~3 JPI<ld~ j w,JiJ~M rl f#fg r~c f#ftr~ c j r r #I#\?
g
F# ~ r fr [[# FYI
j
c~ f~ [J 1& 3;J~ JIC I......J_
[ r~#;;3 ~ J~ WI oJ
____ J
J JJ ###~s ~
8
g
w, JiJd~3 m), M~ Jd~ j W, cl [# [~ F~ ~ r Fry# ef fl~ cf fi #'##s,?
r f~ rqr# f [q c~ cl [ oJ~ Jd, W wd~ J~ J jd~3~ J J~J~ J J #I#I\~
*-~i-~rpWji#r$t~r~dEr1r tf~~~~
fl&fwlf"mn8 r r~(mJ f]iJd'£J,J Jfl]Wa,]~~
*~b fJ J@d;M J~JiMi~ B'MSt f~PtS~!C g£WrJb-d
~ ~ ~~ q 'DII
'*#~I =: f t f E f Ft qt I ~F t EbE q[!E t F'E j i;l JJIE dj] J J~m
10
-
12
t#~1
-~ L[ [ I !e#Cr T'Pt!t~S
- - - ~ === r:~ =::: r!t I
1;JJ J -
q ~_~-I q ~)n:
&
II
1*l~ ~ ~ q~ (j J1 J J r~ 3 j t J I · · .....
.....~
I a eng E E Silg 1/# ~ ~ilb ~~J~ 4~g Jd~3q JqJd~~JA)d~~~~ ~ ~f!
O~J~J~J#j~JqJ~Jd~~J~Jrl!~J~J~Jq ~ M~Jg [Sri L!f~ Egef ~ :\1
F2 C!1( E EJijP[ EJWbllJ ~J~J~~ J JqJbJ~J JJ#J~~ J 9 /~,1
F2" J;l~1#J~)~J~J JPqJdfriSqifJQJ J#~qJq~IT3E}1Lift~t
F2". .
J#c:rgr:r==~ JdeJb3~V-4i;J#~ J:aJ¥i]J~ :::1 '1 8
~mmfi~(1#~.~~f}~iif~t I L
E22~-~gg~g JqJq3-lfJ~F~JJ:ilq ~~~1~~t
[9q~Jq J~ Q# {d?q J\ ~~ 5. Jmqt Jq~g J# ~PBg (: etP~
rgJ; JqDg J J Jq3t ;l Jd~ 3~ J j JqJ~ J~J~Jq 1~ EJJJ :=:.t
•
! #'1.
:. :. :. ~ "
-~
.=1
LL
EXAMPLE using the same melodic phrase from each starting note of the
B/C C/O C~/D D
EXAMPLE using different melodic phrases from each starting note of the
B/C 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.
:
i I
,.
-r I --+--
.•.. ~
t.
!
: ~-
I -
I---
~ .....•.•.. ... ..
t. I I
I
,. j
,
!
"' i---
-
"
.~
t. I
1- "TY
I
....""0
'-" -= r-~
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
~ ...
9 ~ ~ ~ ~ #~~ I ~ ~ ~ #~ ~ i~ ~ ~~ I J ~~~ J#g
I
t- - tf·
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
Chapter 3
APPLICATIONS
13
(-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) I C
B~-7 EP A~-7 OP
F~-7 B7 E-7 A7
FjG~ /. HjE /.
/. GjA~ /.
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
5 B
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~
.,
' D G7 Ct-.
'
F-7 Bi:t7 E-7 A7
,. 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
CjOt>
B~-7 EP
A~jA
Ob7 B7
FjG~
Er 7 A~7
B-7 E7
9 BjC AjB~
~_~L z7 7
z E 7
r~_z
,
1£2 z7 z
z
7?Z 7
7
II
A-7 07 G-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.
:~b
TUNE 6 (CD TRACK 11) I BD
FjF# E~jE
~
ie
•
/ / -zz -zz -zz -zz -zz 7
7
-zz -zz -zz -zz I 7
7
-zz -zz -zz
E 7 A7 D-7 G7
DbjD BjC
i•
~
/ -zz -zz -zz I -zz -zz -zz 7
7
-zz -zz -zz -zz -zz Z
7
-zz Z
7
F7 Bb-7 ED7
AjBf> GjAb
~
~ -zz -zz
~
-zz -zz r7 -zz -zz 7
7
-zz -zz -zz -zz 7
7
-zz -zz -zz II
• -, 7 Db? F# 7 B7
F#jG EjF
tE'
_........
•
7
7
2
7
7
7
2
7
I 7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
I
7
7
7
7
7
Z 7
7
D jEb Cjq
~......
-
7
7
7
7
7
7
7
7
I 7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z 7
7
,. BbjB Al)jA
~
.......
_
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
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
For the minor 7th chords you may either use the hexatonics given on the previous page
HEXATO.~~Zs I
... : A B,
13
A7~9
F~/G
Gl\
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~
-'If
,.
7 7 7 7 7 Z 7
2 2 2 Z / 2 7 2 I 7
4
• B-7 E7 A-7 D7
~
__ - 4
41
A,-7 Dt>7 F~-7 B7
r
F=IG :/. ElF :/.
~
. E-7 A7 D-7 G7
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
9 D
BJC
EP
5 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, 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,
I) ... /C+
: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
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 E fli: IW J Uti Jft] ~J 13 J :
29
2J]
35 _......,
1\ 36 ~ ~. h. "Ii:. ~. I I I I I
-I
tJ - I I I .L....J -.. ;r. ~
I
II. 11- .+1 I ! (t
~ .~ .'f! -,J
• 817
~ ;-:: _
.•:. .;:1J:~ £'" J== · ~ 3 • ~. d r r; ~!. ~:.: # • • S· ~~ 7i
-. - Lf
-
53
55
#~ ~ ~. E t: #~ ~~ #~ ~
r r!
r..
, EPc £ b~r
58 t!. b •
i = EHEr t E F t: =J PIt: P PIe
60
. . ~. ~ . "
, "'." ~
=tP] ffJ 12f i JI) J= fie r+= [ r'F q[ 1e::clr f IT rt~ {rtf t
ttL [J rc fff t'-[ 'e f frJ[ [ F,i JiJ Jf~ JfJ ] ~iJ IJ J ~
g
[
11 # q
# q # q q LL
gr @~ 1 . F;j J~ f . ~ . . •
Ffij r [ Ff; J:lq \} J~] =t j ffi
.q ~ Ol .
J j J#gJqJ J# ~ ' 7
E fj iWJ~J#J j J ~d liABrr4¥c!jff wt ,~ 6
[-'-- r Eft.t=fJddE~rl~d' ~~ J#lnqJ#YJJrJ ~~ '.~
5
#.
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
f
;;=~---TlJ J~J j J~J JbAJ J4jJ-J 9J t Wgr~;"
_._. .~~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
.." t
9E
J JdA3 ij J 3d J;J J1Pr Fry [!r
ate r f-@; .,
~~: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
q .. "
-. ;:;:.",:JdqjP, Ol,3 q(J, Jig iJ, Jigi AJ IJI31af# r~ r# r rJ #,.:;~
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.
, i
~ ..
I
•.••.
II +t ......
~
/
7 "
---+i
7
tho
I
•
I
1".
~_.f'_.
. ...
"
~ I
EXAMPLE using the same melodic phrase from each starting note of the grid.
C~+jD+
EXAMPLE using different melodic phrases from each starting note of the grid.
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 using the same melodic phrase from each starting note of the grid.
B+/C+ B>+/B+ A+ /B>+ A>+/ A+
Also, try improvising using any rhythm but starting your phrase on the notes of the
. ·1
-I APPLICATIONS
J(:
TUNE 8 (CD TRACK 13) I 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
I
7
7
7
7
7
,
•
C- D,-
/
7
::), \
/
7
7
7
/
7
G+/ A~+
D0
7
7
7
/
7
G719113
/
7
D+ /E1+
C-7
7
/
7
/
7
Z
7
7
F7~9
/.
7
(F+ /F#+)
/
7
/
7
7
7
/.
,. 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
~
~
7
7
2
7
7
7
/
7
/
7
2
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
Z
7
/
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
is
~
/
7
7
7
7
7
7
7
7
D0
7
7
7
/
7
G719r13
/ /
7
C-7
/
7
7
7
7
7
F7~9
7
7
/
7
/
7
Z
7
D,-"
&
~
/
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
/
C0
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
7
7
7
2
7
2
7
7
7
7
7
2
7
2
7
7
7
The chords in parenthesis are optional as they create more of an altered sound.
TUNE 12 (CD TRACK 17) I C
c
- E,+/E+ B+jC+
. E.'.~5 C~#5
-\~\:5 F~~5
,- ,.
•
C- /D,+
D,~~5
A~+jA+
A~~5
F- /G,+ O+jD+
It
~
....
~
• G':'i~5 D~~5
A+ jB~+ F~+/G+
• B,~#5 G~~5
• E,~#5 B/,,::5
.. :I
""
. . ~ ..
''Sb Hexaton Ie
A+ /B~+ D+/E~+ (F+ jGD+) A+ /BD+ Ab+/A+ (B~+/B+)
, {! ,
7
7
7
7
7
7
7
2
7
2
7
7
7
2
7
2
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
,
5 D+/Eb+
Ebll
7
7
7
7
7
2
7
A+ /Bb+
EO
7
7
7
7
7
A7,9!>n
7
7
E+/F+
D-7
7
7
7
2
7
2
7
Yo
G71>9
7
(G+/Ab+)
2
7
7
7
2
7
,
9 D+ /Eb+
(-7
7
7
7
7
7
7
7
Yo
F7
7
(F+ jGb+)
7
7
7
7
7
7
E+/F+
D-7
7
7
7
7
7
7
7
Yo
G7
7
(G+/Ab+)
7
7
7
7
7
7
,
13 F~+/G+
E-7
7
7
7
2
7
2
7
Yo
A7
7
(A+ /BD+)
7
7
7
7
7
7
E+/F+
D-7
7
7
7
(G+/Ab+)
G7
7
2
7
D+ /Eb+
(-7
7
2
7
(F+ jGb+)
F7
7
2
7
,
17 A+ /Bb+
Bbll
7
7
7
2
7
7
7
D+/E~+
(-7
7
2
7
(F+ jG~+)
2
7
F7
2
7
A+ /Bb+
Bbll
7
7
7
7
7
7
7
Ab+/ A+
F-7
7
7
7
(Bb+ /B+)
Bb7
7
7
7
,
21 D+/Eb+
Ebll
7
7
7
7
7
7
7
A+ /Bb+
EO
7
7
7
7
A7,9,n
7
7
7
E+/F+
D-7
7
2
7
2
7
2
7
2
Yo
G7 b9
7
(G+/AD+)
2
7
7
7
7
7
,
25 D+ /Eb+
(-7
7
7
7
7
7
2
7
7
Yo
7
F7
(F+jGb+)
2
7
7
7
7
7
G+/A?+
DO
7
7
7
7
7
7
7
7
Yo
G7 a lt.
7
7
7
7
7
7
7
,
29 D+/Eb+
(-7
7
2
7
2
7
7
7
Yo
F7
7
7
(F+ jGD+)
7
7
7
7
7
A+/Bb+
Bbll
7
2
7
2
7
2
7
D+/E~+
(-7
7
7
7
F+jGb+
F7
7
2
7
The chords in parenthesis are optional as they create more of an altered sound.
~
TUNE 12 (CD TRACK 17) I B, /I"
-' . . : F+/Gb+
--S'
O+/D+
.: G~A~5 DA~5
3",\::5 GAtS
l.
--.. E~.\:5 BA~5
-::::-/A,+ Eb+/E+
If
~
..
..;;..~
;~'l.:5 EA~5
3- /C+ Ab+/A+
If
4,.
.~-
t
C'l.:5 AA~5
E-/F+ C+/DD+
If
Hexatonic
Chord FII -7 7 -7
A-7 D7~9
D7
(F+ jG7t)
F7
alt.
The chords in parenthesis are optional as they create more of an altered sound.
TUNE 12 (CD TRACK 17) I E~ ,-t
C+ jDb+ Ab+jA+ 1:b
D,~;5 A!:J.~5
• - F+ Cl+jD+
:z
L zz zz -:::z.
L
-:::z.
L
-:::z.
L r. 2z -:::z.
L r. -:::z.
L
-:::z.
L
-:::z.
L
-:::z.
L r.
= \:5 D",~5
3~~::5 G~",#5
J - / E,+ B~+jB+
G \::5 E!:J.~5
.. 3- ,/C+ G+jA~+
~
.,
7 7
7
7
7
Z
Z
~~+ / 7
7
Z
7
7
7
I
7
7
C\::5 A7",~5
CHAPTER 5
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
.. -I
11
-~====--
Ch apter 5
Hie
25
lli;~J 1 #[ #[
Ji J#3 #J ~J J
J l~J • [ ~ I
W #E *r j
liF ~r I
26~
r#f![ #E_ r F!~J ~F #~ E F# ~J ~J
.
~ j #J #J
nJ ~ I
j
27
t * #~ •
i.t~k
*==trpc
28
r 1 t:r r!:Ft-g--~1!ii
.r .#
29
if;,Jji r=r!f #r r #[ #r=t
t4 WJU·J J]J f
. -..
J # ... 11
.
~.--~.--
I ~.
q
n --!
60
z:"':
.. .
•
· ~., ~ ::
7
,
q .~.
-
~~~~~~,:
e
.. ,..
~~~~~?
•
DB,
~
l~._......~.~. . . . i 4
...."'1 .
, ~-- .. --------~--- ..
~ ~
11
I -.
~ ...
11
~. . ~
~tr EC'f1f1c f ddd j Mad JWdq~J J Jdd 99 1N?
q n
q ,~
r! f~ f r 1H
#q q ::T ·
lJ Jql J~ 9qjq JqWJftJ qJ!J iJ qJ!J! J J1J! J! (! r r--"!
.q "
rJf [ r EJ![![ f; 1J!J!a J iJqJ!W j JJqJqJ JJ~gqJql Ja 11S, }
J7Jd JJ Jq:J\J)J iad J j Md cf Cr!c f [PrE F f 11S,'~ 6
F r! 0!F~ f r [I! r! [! f1 j J JqW! ia
i J ] j3qJqWI J J] Q\'".'1 s
q
a iJdqQ fJ JJ JiJd J c Frlf d;] J J 0[q L!f! cF[J \\'1
r~ ~q q • q ~
F Et f f!r f lad JdiJd J JdqJ J Jdd 9 ""<'"
ij
ddqJq1 J JqJqWJ ~ j!:l J J J! a J F! [! r; c! fqE; ',r~",
a JQ I ~CJ! J a ;~ ~ ;~ ~ tlqJ
~ ~ JJJ JddqJqJ J99 '/~'" •
a £JI :ldd J J1~ JI Jd l C f LJ c! o! [if! E F E~ ',~c • ·
a hJdd! J J J ] AWdd qJ J J ] $JdqJq J J Jg '/'~:"
a~ ~ JqJ! W
d: J J J Ji J! J! J! Fc Ff [! r! [~q E r FE" C
. ..
...... ~ ~..
,
...,
Go
-
--
q q
eraE r Rig R! [ [; cqrq[ r iJ~ Up j j J~J~ iJ JJq~] J9~I#~~,~
•
B,.E
., ,. ...
, .,
.." .
11
,. ~
I .
A.,/D
........
.."
~'~I~~r~~~~!mr~f~e~~f*~flr~f!~r~'·~. ~~Imr~'r~r~r¥r~~f~brm~j~J~oJ:~J~J~~~
~~~~~~~~i~~-~fqr~rbE F
1
#
~ .
9
:
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
I
v
f) "
fI'U'
If)
I _.._.. -
f)
........... =i -
1'1
.
v
f)
i
9
f)
1'1
f)
-,
EXAMPLE using the same melodic phrase from each starting note of the grid.
G~/C G/D~ A/E~
EXAMPLE using different melodic phrases from each starting note of the grid.
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: 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-
~~~~~~~~~~~~~~~
~=;=
...
EXAMPLE using the same melodic phrase from each starting note of the grid.
~~
-
•
lJ#J11J ~ I J3JJ#£J JJ iJP JiJ1J J I ~iJd JJJr- ~
I
EXAMPLE using different melodic phrases from each starting note of the grid.
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.
Chord
5 BjF (A~jD)
D (-7
alt.
29 AjH (F~jC
e·~~~~~~~~~~~~~~
3,\ (-7 F7 B~1'l F-7 B~7
(-7 F7 D-7 G7
~
--• E-7 A7 D-7 G7 (-7 F7
It
b~ EO A7~9b13 D-7 G7r9
t..
(-7 F7 DO G 7 alt.
139
1
Chapter 5
--------,
,
Hexatonic
e
Chord
2
7
FL'.
7
Z 2
7
2
7
G-7
2
7
2
7
G~j(
(7
Z
(EDjA)
7
7
7
Z
FL'.
7
Z 2
7
7
7
(-7
7
7
7
7
BjF
F7
7
(A~jD)
2
7
,
5
B~L'.
7
2
7
7
Z 2
7
2
B0
7
Z
7
B~jE
2
7
E7~9~13
(Gjm)
2
7
7
Z
A-7
2
7
7
7
2
7
A~jD
I 2
D7~9
7
(F jB)
7
7
7
7
2
7
,
9
G-7
7
7
7
2
7
2
7
G~j(
(7
7
(E~j A)
2
7
7
7
2
7
2
A-7
7
2
7
7
7
7
7
ArjD (F jB)
D7
7
2
7
7
7
7
7
,
13
,
B-7
7
2
7
2
7
2
7
B~jE
E7
7
(Gjm)
2
7
2
7
2
7
2
A-7
7
7
7
A~jD
D7
7
(FjB)
2
7
2
G-7
7
2
7
G~j(
(7
7
(Et>jA
7
7
,
17
FL'.
7
2
7
7
7
2
7
2
G-7
7
2
7
Gl>j(
(7
7
(E~j A)
2
7
7
7
FL'.
Z
7
2
7
7
7
2
(-7
7
7
7
BjF
F7
7
(A~/D
7
7
~ 2
7
2
7
7
7
/ 2
7
2
7
2
7
2
7
2
7
2
7
7
Z 2
7
7
z 2
7
2
7
2
7
I
B~L'. B0 E7~9~13 A-7 D7~9
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 7
I
G-7 (7 A0 D7 a lt.
~
4
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
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.
'" .. "...
: • • , .... 'r ....
,
D-/C
,'., i j - J j J J J J JJ J f J J Jc r f J j ~ rJ r
,3~~ iJ j J i J J'3 i J J J i J J; [ r E~ [ E t ~ F
=4 ~6 J J J J J J J r = rr?r .~
~,8~~b~g~r~rf~r§. ···rgfjf~E~l~r~!~p~r·efJp
7 j~.~~J~J~J~~~~.
..
tt
~ ... ~ ..
• mm
/' ~ J J oJ • · ..
~.
tt r L F rJ~ _ ~ j 5J JJ J J
J J J.OJ J JJ J J i -: ; "s..•
~
~- ~ *" .-~
Chapter 6
D-/C
¥4 J LJ J J J J r r r j t
E: F J
-h. ~ .CF
Jjil>£tEJ ~ f9Ycr-=---:=H=-=
r=f:=.-~H¥#tt-R JJ JJ J) J~. -
_..~m= :
-
[
'~f f; r IT r r jUPFf-w J J J._.mm . :
!
t! 53 J 2 J J J] iJ J : [ r rJ cF[} r r r r F ;
I
II if : J ] .r J J J 0>
6'
~~~OO'm~f r [ r c r f; [ r F r t~
D- c
49 -F-
50
",' I ! • flla I I 1 1 I ! -
.) I T I I •
i I I
I I I
55
I I -
" ..." • - II 1
,5:. [ IT Lf ~ E Er : r f F r[
r f [ E [ ret f f
,5;~ J .. J Jcr [j i J ] J [ [ r J r r [i [ c EJ
D- c
f2~" EE ri ( r E; f r rJ r r rJ f r rJ • J ~ 3 F
11
I:)~~~'=~
F t; EEr f F r r f J J j ] " J J j J J 1J JJ 3J J ~ J 44~,'
J
'- 111
t~"&~ -fJ
~ J= Jj J J1 J3 J J i ] j J rE r r[ r rJ ( f EJ F
~
•
zt
"I
I
~
f¥~ ~=+r r rlE Eff J J jJ Dill J J J33 J Jgo ~ 49 ,.
-.
L......J-E
~~- f-J J JJ J 3 3j J-J ~ F_lr E F{ r Ef_f r ~;54~ s
~ .....
-.
J J J J J J J J JJ J J3J ~ J J j J J3 J J J J -~ ~,, 6? t
, .~
t
11
1_
-W.I.
p- ~
l"
11
, 6
~.. , -~
L
B~-/A.,-
2 .. __ t r i . .
~~~~;b~t-*r€Pg~-~~~~--=--=
~~¥=4{f-EF~~--==-c:~~
'-~*.==~g€4=~~~~~=.:c.~
• . t]= ~~---+-=-=--Lrli =~--'------.......
--
..
~;r,-u=t--~~~£J¥--M-j"-'E--
. ~ J:==E ~ F
.•-- -.::;=~
~J=-----=J::--7J= j=-----
. i
_fll~lf~~=rr-ftu~~~.-~~
~
~£~fr:j~~lI~c:·
8
'=~. flJ.lftJ3.·Fff3t~~:dJn~¥~
.~t¥W=tFf=Ett-f¥=£4 J] EtE;1"'E=~
~~
~~---~ 3EfE.;i~Ef¥E;r
--..J - - f raE eEta==,
-II
~. 2:: r [i - J j JfJ J ] d; J JJ J J J J JJ ) Jd@~ ##~,'
11
J ~ J J ~ .</ J J J J J J J J JJJ J JJ 3 J JJJ ~#~ti
~J il J J fJ
5
j j [ .... ~ .... : r r
-l~ J' J.. . ~ , J 3~ d ]..~ r CF C~ r rE sm
in r f
... .. @
~6 f f; r Gr r [ r r F E[ r; JJ J J J ~ ~ J¥
[
I
7 rJ.l - I - CI r:i _ -- . . . . . if# ~ ~ •
tJ .,
f f f f; Cf f r r · c r 8E [J [ r (1 J J J J} J J J fJ
II
=-. : : :3" [ e rJ [ FEr J J J ] J] J J i j J J J J JJ !,
-+1 J J JJJa J] 11 a J i J J J erE F[ f c,t E nr i': 1?
~ n
:J f f rJ [ f [1 Err r fJ J J n ] Ej J JJJ J j J:,'
6
J J JJJjJ J ~ J JJ J r [ r . :5 . J [ [ [H ~ fi .~
L
r nr r f 8E rf~ J J J J J~::J j J J il J3-=0/
JJJ J JJ J J J jJ J J : r j r j r ErE [~
f
j Ef b~ ~J J J J J J ] j J J J j E JJ J J J 31 t
DESCENDING GRID: D-jC-
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
v~
'-J
tJ
~...
tJ '-,
,
----t
v
tJ :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) e ~e- V 'OJ' 'OJ'
•
_ fl
·u
,..,
--
- _.
D
'OJ'
4t
t)
· ,..,
.'
.,
·
u e "'. 1+ "'. -'
,..,
-
EXAMPLE using same melodic phrase from each starting note of the grid.
D-jC- G-jB- C-jBr
EXAMPLE using different melodic phrases from each starting note of the grid.
D-jC- C-jB,
!""
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
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.
~'~~/~~Z~Z~~/~~7~z~~/~~r~=--~z~Z~~/~~z~Z~~/~~z~z~~/~~I~~/~~z~Z~~/~~z~z~~1
...
C 7 sus B,7 sus F7 sus
G-jF
~t~l.~7J~Z~ZI~/I~Z
~~:;: f
+..~
. =. . /-7?~Z?z~/~z~z
f f :
f :
~zJ~Z~Z~ZJ~ZL]Z
_ ~ ~ , I
=
L .z.·
··. .·.·.•. •...•. •. •. •. •.lf~
.·.·.. . •. ~ ~ f f , , : ' f f 'z..::~~ L
Z fJ J
f
J
f
I
, - ' / / /
B:>7sus
sus
25 G-jF
7 7 7 7 7 -' .7 Z 7 7~ 7
TTLL TZ TZ TTTZ ,2 , Z rrL2 rrrz Z TTZ L ,7 2
B~7sus
TUNE 3 (CD TRACK 7) I C
E-6 9
:7
7
:7
7
:7
7
:7
7
:7
7
:7
7
:7
7
:7
2
:7
E7 alt.
7
Z 2
:7
2
:7
7
:7
7
:7
7
:7
7
:7
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 Z
II
: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 7 2
G-7 B7 alt.
&e
tJ
7
:7
7
:7
7
:7
7
:7
7
G7D9
:7
7
:7
7
:7
7
:7
7
:7
7
:7
7
:7
7
:7
7
F7~9
:7
7
:7
7
:7
/
DO CO
£
tJ
7
B~0
:7
7
:7
7
:7
7
:7
7
:7
E~7~9
7
:7
7
:7
7
:7
2
A~0
:7
7
:7
7
:7
7
:7
7
m7~9
:7
7
:7
7
:7
7
:7
&
tJ
7
F#0
:7
7
:7
7
:7
7
:7
7
B7~9
:7
2
:7
7
:7
/ 7
EO
:7
7
:7
7
:7
7
:7
7
A7~9
:7
7
:7
7
:7
7
:7
II
~Il 7
:7
7
:7
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
: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 7 7 7 7 7 7 7
B0 E7~9 A0 D7~9
, C-jB~-
GO
:7
7
:7
7
:7
7
:7
E~- jDD-
C7~9
:7
2
:7
7
:7
7
:7
B~-j A~-
F0
:7
2
:7
2
:7
7
:7
G-jB
7
:7
B~7~9
7
:7
7
:7
7
:7
II
,- 'I
.
Chapter 6
17
O-/B- n-/E- B-/A- E-/D
7 7
71
7 7/ Z 71
T7T rz 7 T7Z77 .t'l ,7
7 7L7~
..
TT TZ rTTZ 7
7 TZL TTLZ T
E7 A7 D7 sus G7 sus
25
A-/G
(7 sus
I B~
4
TUNE 3 (CD TRACK 7)
F~7 alt.
B-7 E7 alt.
EO A7~9 DO G7~9
A~-jGb- b-jD,
'- p D9 Epb9
CO B,0
'- q7~9
G~0 F#0 B7 b9
A0 DT,9 GO C7,9
.-, I
TUNE 1 (CDTRACKS3eT4) I E~
E7 A 7 sus D 7 sus
25 E-jD-
G 7 sus
TUNE 3 (CD TRACK 7) I E~
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
EO A7~9 DO G7~9
CHAPTER 7
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.
B,/C- can be used over F7sus, E,~7, A,t;.7, F-7, B,7sus and AO.
'I
~ 2
.'-. i
~i1 j J Ji J J Jf J J : c r Ff ( F Pi F
~.~~~~~~
....... '
'0 [ r r f r § r FF
$"ECEr[rc-tEcfrCcErf
OJ "J
~ ~
~" i J J J J J J j [ r L f : r r; E~ ~ ~ ~
27
29
./I..
,35
I I I I I J • .II.. _
e,
1
U . • l J I I I l ...J
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
mmmmmmmm •
r
FJ J J J J J4J j J ] J J f-r f r [ r~ LV
r [ Fr f JJJ ] j J J J J J J J J J J J ~,
OV
6f.
; n J J JJ fJ JJfJ JJi j JJ J JJJ ~ JJJJJ JJ 4:£'
Lf.
B,
. - I I r
l J I I l I I I •
51
53
~ '" i-~ j iF • L I I
I I 1_
1-.
L
l' ,
. n i; ~ J f j J J j J J J r ru' r r r E C FfiE r M: ~~ .
r-r I -I --- - I I r
..........~
................ -..
II ., • . . 89 \I
. Cmmmmmm
_. J3 J J ] ] f J:i:l:jJ
- 99
G. . . [ E}. 8: J J i JJ J J J ..J J ~~,
,,",
,.--------------------...
~---- ............
.---------------------..
- ..
B;>/C
t~h jJ JJ fJ JJ iJ J) : j J J [ r pi Er [1 F
+h f IT err € f if r IT j E[ EF; E f c! ( [ F; F
11
3
t~~~~~~ f Bf 7 Er Lt [ f r t [ r r J J J JjJ J J J
7
~~~~ jJ J 3 J J ~=~~~~~~~~~~
8
# Jj JJ . . . . . ..
J ~J J ] J J J J J a J J j J a J J J ; JJJ JJ #r'
D
~' j J J J iJ J J f j J JE r f J Err J : E r F r
~'0 Ef f f f f Fr r IT rr ErE; E F r f J J J JJ J j J fj
11
LL
6
== oJ J J J J fj J 3 J J JJ j J JJ i J JJ J J J~ ~,
DESCENDING GRID: B~/C-
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
EXAMPLE using the same melodic phrase from each starting note of the grid.
B~/C-
EXAMPLE using different melodic phrases from each starting note of the grid.
Bb/C C/D-
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~/C-
Try playing 8 notes of any hex atonic melody using the notes of the grid as starting notes.
.1<:
T~
:J7
tJ e lfe [TO '-.~
1'1
,..
IT
7':
~
I'J.
II
........
U 'll
,..
......_.
n ...
U 17~ ....J '-~
,
7(
-T
<:.
....
tJ ~
"
EXAMPLE using the same melodic phrase from each starting note of the grid.
EXAMPLE using different melodic phrases from each stalting note of the
Also, try improvising using any rhythm but starting your phrase on notes of the
grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
.- -,
Chapter 7
APPLICATIONS
Apply this hexatonic to any of the preceding tunes as well as tunes 13 and 14.
Chord C - 7 Dorian
*,- ,
9 Ai1jB~-
' Z ,7T
B~-7
(E~jF-)
r1z7 T 'I
7 7 TTTZ
A~-7 Dorian
25 Ejn (BjO-)
F~-7 Dorian
33 0 jE (AjB-)
41 CjD (GjA-)
D-7 Dorian
:liiIi
~.
~ ZZtt77J
Z 7 Z 7
z z z z ~ 7 Z Z 7 z1Z /Z /7/ 77/ / I / / /
Chord C#-7 Dorian
9 A/B- (E/F~-)
Dorian
A-7 Dorian
25 F/G- (C/D-)
G -7 Dorian
33 Et>/F- (B~/C-)
-7L
TL
" J "r ,..
r l
z 7' 7' 7' FT---Z-~
F-7 Dorian
4 Db/b- (Ab/B~-)
7 T
T 7 T7 L7 7
T T,LL. 'Z ,Z , Z/-T
... zz-7~
z z z
,--Z~
z=7:T7 7 7 / / 77"
, r J.;=~
L,7 ...
Eo-7 Dorian
."-I
Chapter 7
Chord Dorian
9 B~jC- (FjG-)
C-7 Dorian
Dorian
25 G~jA~- (mjE,,-)
Dorian
33 EjF~ (BjG )
DjE (AjB)
7 7 7 7 77 J1'
rT22 rrr7 TTr2 rT7
E-7 Dorian
TUNE 14 (CD TRACKS 19) I B~
Hexatonic D~/H- (A~/Bl>-)
Dorian
A-7 Dorian
E~/F- (B~/C-)
F-7 Dorian
,~ 'I
Chapter 7
Chord Dorian
9 FjG (CjD-)
G-7 Dorian
17 (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-)
t
C-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- /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
s _ . L j Ad J f r [ r!~!r ~ j~ r
.. ,
" ~ ~ #=~ =f J ~ AJ ~ Ar ~~ ff r~
,.' J J J J#J J j J ; S ! A
~~
............•...........
=====.==.
,'~,
..,
[ E IT t,~ tEE f ur "l IT r Frqr-r r rOr
I .
- . . . . . . . ..
c # m ~ ::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
?G---<" ~ ~ r":-n ~=m. I" [1' ~ i\i;.
J ij~ J~ dj~<I ~~ d ~ 1;J .~.
erA r-f4+ Lt(;Ffj=E L -- \l
it
25
~ ~ ~t!:ltl' ,.
'~b 11 ~J J J J!J ~j c Fr! F 5 r r r LE- ~
29 • m •• •••
1\ 35
-I -
l~_ .~!iIt~_
~
1 !""" i i
.I
..I
tJ .. • L 1 i 'I I
- I
11m $ q it ......... · LV
6£
L£
B-/C
49
53
69
~IJhJIJ1~i~~J~;~~i'~~~~~~~~
I miD iii J ~Ji;~j J1J Jcr r~ ~[/r~F crlff E[#r;IC r [j~
1< ·!ij J
U #[c FW ~ . . +J ~".. 31D:; .. # 99
Bro 3 ] £1'1fJ~ In JJ~ J
~~,
~ . £3,,iii· J
t9
mmmmJJ ~I #m [c r } .
.-. .
•
a~[ [criEr [1 lJIJ JH j 3 j q jjq3 fJJJqJqJJl~q:,'
~1ld j J 3 td J J-Jd JJ JJrJq] c[ E-r~c E Efft: r [ qq~~
.~". I I I
.
I
•
L
~~-= r [! r r4 r fW JI dq ] 3 Jq J J J J Jqil J ~ J~ ~ f'lJ:t
q
d(J J rJ 3 J J JJ 3 l £3J J [I IT r ~ [ F~ r; ~.
q q
£
'....d
L
5
11
I·
J 43 J~J iJ J )Ud Jar 0E:I'~t JJ [ [Qr;!E [ rJ~~\4i
L
c:
q
j RJ J!3 OJ j 3JEri Fry r r [} [ r~ Ef~ Er[; iN i
...
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 J4Jq reF!fq @r~E; #1#11, ,
*: *~ *c ~~ ~ ~ II
;}r[ E [!f~ E! r [j! ~jb J lJdb JqJ J Jd~;b J JJJA J J]#I#II~,'
Jq~JGJ~~··········~~~~~~~~~~
q
4 q 4 4 '
q
r t~ [I [I r er r r Jd J J JJ J# J Jdd*J d~d J #1##1 9
q ~ q
JriPA3.£J Jd £J~Jd~c r r~IC!rlrtIE rr-r #Ib'
E
. .
-
L.
I' 1
:r:r [Iild1~ J AJ MJ Jdd~J j Jd~~g J 3d~g~g J ##t i
g
;--1 Jj J1 iJ~ J J fJ~ Jp iJ~ JP~ Er rU"~ r~ r r r C rqf f ##n i
.~:;tLl ~ :;t~ ~ ~ J ~~
~~L ~. ~g r • • +l ~ J ~ l 'i~
klL L hpC F hI t:~r~PJ • .~~~ ~ JP~· • J J~J~J J9##!l oJ
JTJi J j j~J]g J J J~M J j Jd~J f f f! f~C r fiqE~ r r r ###6i
q q
r C~ r cr B[ r-~
----I...-IJ
[1 C U j J J~ J~ E[ r- i JJ~ j~ j J] J##n i
-J ~ 8
J JUdi jJ j j1J~Jd j L[ [~r~cr pi [ nipc f cf bLi
1
r [qcqc [ [qr f f jd~J J Jd~J j jd) J Jd~9 J #\i
F i ! -,>
11
L t@#J J Jg#J J#J JJJ#J,J i J~J,] J J j,] E'f r; E,eF! t'
E ~rE f IT; rr [1 II] J JJ J#Ji3 J j J 3#J J il J#J <i JJt'
l~n#tgJ JdJ)] lIJd 3 J J 3;3 ~ E[~c Erf!t~r Ei ~J
L J ~B ~~ J J;£3 ~-J J J J3#JP J1m J/J#J Jill F~
L
C:-/D
3 C C-jC- C-jD- D-jE, E,-jE- E-jF- F-jF~- F~-jG- G-jA, A,-jA A-jm- B,-/B
7 --
---'--
.
I'
--
"_l'
---
'-.
t. --
-
'-.
--
---
1'. I
'-.
--
1\
--
fJ
,.,
-
EXAMPLE using the same melodic phrase from each starting note of the grid.
B-/C- B~-/B- A-/B,- A,-/A- G-/A,- F=-/G- F-/F=- E-/F- E,-/E C,' - ~
.-.. -~-~-_u
:=::z:n::
---e---~
..."
I
I I I
I I
I !
,., .. - ~ .. .. ~
~ .. ..~'r---.. . . . =hn= i
U I
i
i
I I
~~
-. ...... ----- .---...
..a--
...
"0 .... ...
! .
.1'1
EXAMPLE using the same melodic phrase from each starting note of the grid,
EXAMPLE using diflerent melodic phrases from each starting note of the grid,
t~ *~ I,D;g J }FJ.
J ill ~ JJ Aft] ;~ ~q g;J tiJd JJJ J 3 I k~~ ~ =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
'C
Try using this hexatonic on tunes 6, 7,9 and 10.
£e
~
, 7
7
7
Z
7
7
7
7
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
7
I
7
7
2
7
7
7
7
7
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
I
7
7
7
7
7
7
7
7
I
7
7
7
7
2
7
7
7
Br 7 EP A7- 7 DP
(B-/C-) (A-/B~-)
£ ~
2
F:-7
7
7
7
7
7
7
7
7
B7
7
7
7
7
7
7
7
7
E-7
7
7
7
7
7
7
7
A7
7
7
7
7
7
7
7
7
,
tJ
e
D-jE>-
E~-7
7
7
7
7
7
7
7
I
D-jED-
AP
7
7
7
Z
(A,-/A-)
(F- /F:!-)
7
7
7
7
I
C-jC:-
C~-7
7
7
7
7
7
7
7
7
I
C-jO-
F#7
7
7
7
7
(F~- /G-)
(E~-/E-)
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
B-7 E7 A-7 D7
,
tJ
F:-jG-
G-7
7
7
7
7
7
7
7
F:-jG-
C7
7
7
7
7
(C-/O-)
(A-/BD-)
7
7
7
7
E-jF-
7
F-7
7
7
7
7
7
7
I
E-jF-
BP
7
7
7
7
(BI1- /B-)
(G-/A''J-)
7
7
7
7
:1
TRACK 14) IL
/0-'
~I
B E
E7~9 AO 07~9
=1
GO C7v~ FO B~7t>9
TUNE 6 (CD TRACK 11) I B,
(G- j A~-)
(F-jF:-)
B-jC- B-jC (D-jE1-) A-jBb (C-jC-)
C-7 E,7
(C~-jD-) (B-jC-)
(B1-jB-) (Ab-jA-)
(G-jA,-) O-jE, O-jE~- (F- jF~-)
(D-jE>-) (C-jC-)
(B-jC- ) F~-jG- F~-jG- (A-jBb-)
07 G-7 C7
I B~
~
TUNE 9 (CD TRACK 14)
'"' E0 Ar 9 D0 G7~9
~j
'"' G#0 C~7~9 F~0 B 7,9
F0 B,7~9 H0 AP~9
Q0 B0 E7
D G C7
Chapter 8
(E-jF-) (D-jE~-)
(C-jC-) (B;,-jB-)
5 F#-jG- F~-jG- (A-jB,-) E-jF- E-jF- (G-jA,-)
B~-7 Eb7
(C-jD-) (B-jC-)
'Il O-/D-
7
r
B0
T7 T7 T7
O-/D- (E-/F-)
7
r T7 T
E7~9
7 T7
B-/C-
7
r
A0
T7 T7 T7
B-/C- (D-/E?-)
7
r T7 T
D7~9
7 Z7
'E=
G0 C7~9 F0 BP~9
'Il D-/E~-
7 T
r
C0
7 L7 r7
D-/E>
I TTTr7
Fl o9
7
(F-/G~-)
7 7
C-/D>
I TTTr
Bl>0
7 7 7 7
C-/D~-
I rTTZ
E?7~9
7 7
(E~-/E-)
7 7
r
, 7 7 7 7 1 7 7 7 7
r r r r r r r r7 7
r r
77
r r7 7
r 77
r 7
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/C
D/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 J Z Diu W,] J 3 J J [ r r r r
~~~~~- ....-
J J ]. J 3 E
~
._............
_ ..............
.- ...........
" .· ".
~
.~..
~.
,.. -
.
DIC
25
29
····u
3
1
~ . j .. ~ ~ r ~r f ~ jE rg-.
33
35
Jmmm .
6£
DIC
J ~ I I l 11 J - .
r- J I
-I
.." -#11- .. • J 1
1
60
I: .:or..~: f rr [J E E 8# F j JJ J J JJ j [J JI 3 i j J J~:L'
. til til lL
=-:1']
= r -
J ] iJ ] J J J ] J Ct -:t _. ~
L • r r r#r Eer! E#r Ed ~~,
oL
69
•- .~
"~B ] ~ii J J=# ...... l~ . 1 I 1 :::J #1 ..
mmm. til LI 1- .. ~r_ I II
-- L9
U#E rtfJ J ~ J J J j JIJ J J J J J 3 ~ fiJ wiJ J j il 3 ~:9'
fJl
fJ J 31J]J] fJ J J#J ] J J [ r Ej" C![ [fr r G PI ~!9'
£9
19
D/C
- <
J1 L
J ~ J J J JJ J~ J ] j J J J j J J J~ J J JJ ~ ~ ~ 4~z,
7
11
1:;~~~JS~j Maq~p;;~iF}=~~~,'
~)-~VJq_J~ J~3~f~~I~#.' n
____ ~--#- ~1-
.···~~Efrj~~~.~~fi~~if\#rt=
. 6
···v:tR~44~j~Tfft~M~#.'
. 8
·-~~~~w~~
-~
~~«~~~~If--t-~_~ L
I
t>
~ ~~~
8
r
'~;~I ? f/r" Ed [: rfrT (y Jfjd~~[#r~r.. JlJd~3qJ
11
- ~"".
~~ ~-~-=----
. ~ ..
I. .~
-+
-",* LL
:_mm~;;; :T . I r
.~~.: E~ r'f r~ E r f" £J~J J ~ j J J~fJ Jill J J~ J ~#~t
OL
i1 JJ J 3d"J J J J M J fJ Jil Er [1 E Efi [*e oJ b t 6
j J J# J J ErE f [ t r F
r[E 1gEMr [ r r r b ,t
".... .• '.-'!'''_
~ .~
or _
,
I
I OJ
aT r IT; Er EJ J3 J J~ J~p J JJ J J @Bl1 JQ t'
n~fJ j J Sill JE Jd J3 J JJig E Ef r-c F [tc r § r n '
6
J LIFr~ J J JJh3 J J-J J JJ ij3-lj iJ~J J J-) @g#s'
J r LF}I J J J] J; J ~I J j J a @J 31J31J J @ n.'
E!D
-
I ~~~~ft£t-f-€¥gf¥-¥~}j~§ j ]J~~J J#@ f~
.. . . W~ J""'"+-J_~--------~---:t=-JL~~
-E ~~f-~::;~
:;.fcf.7.J J t= "--,--l#T~lf#P=-I-U-=:=~~
~ ~ ~ LL
~
·~-li [t[ WI' t~F Et¥¥3fF4p=i¥JP¥FJ=~=~' If .. OL
- _' , r ... - ... 711
~~';-i~~-~~.~.~---:="=l~r~--B+~ fJ. RfJ# J ~Lrr-*
"l:
# # ~
---:;'-:.~~~:.~+:-:-~~~J'~! F8rEf=[ r Ef=Win! L
j t .
:~ f 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.
U *'-'
1'1
'-~
iU !
, i I
-----!..
I
fl
l' l'
,)
,
U
~.~
~
r-fl
EXAMPLE using the same melodic phrase from each starting note of the grid.
D/C F/E~-
EXAMPLE using different melodic phrases from each starting note of the grid.
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-
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
DjC- OjB- CjB~- BjA- B,jA,- AjG- A,jG,- GjF- FtjE- Fjb- EjD- L'" C:
I'l
::K+--
tJ -e ~-e-
pu
"u
1
tJ
..
tJ '-:J
~ .....
i)V o
11
tJ
-<R- 'LJ'
EXAMPLE using the same melodic phrase from each starting note of the grid.
EXAMPLE using different melodic phrases from each starting note of the grid.
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
(A,jF:!-)
E/D- E/D D/C- D/C- (FjEb-)
• D-7 G7 C-7
(F= jE-) (EjD-)
(E,jC=- ) (C=jB-)
•
(DjC-) (CjBb- )
F=
• F:-7 B7 E-7 A7
(BjA-) (AjG-)
(A,jF=-) El>/C: E~/O- (HjE-)
(GjF-) (FjEb-)
C:/B C:/B (EjD- ) B/A B/A CD jC-)
,
B-7 E7 A-7 D7
(E,jC=- ) (C:tjB-)
TUNE 9 (CD TRACK 14) I C
c
G F
5 o/C- (F /Eb-)
E A 07
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
The hexatonic from Chapter 8, "minor over minor a half apart," can also be played
in this context over a major 7,5 chord.
(-jO
B 3 !J.7
TUNE 6 (CD TRACK 11) I B~ J
(CjB,- ) (B,jA,-' .t3
F#jE- F~jE- (AjG- ) EjD- EjD- (GjF-)
fe
7
E-7
7
7
7
7
7
7
7
A7
7
Z Z
7
7
Z 7
7
I
D-7
7
7
7
7
7
7
7
7
G7
7
7
Z
7
7
7
2
7
(A,-jF'-) (EjD- )
DjC- DjC- (F jE,-) CjB,- CjBr- (E,jC-)
f 7
C-7
7
7
7
7
7
7
7
7
F7
7
7
7
7
7
(EjD- )
7
7
7
B,-7
7
2
7
7
7
7
7
7
EP
7
7
7
2
7
(DjC- )
2
7
f
9 B~j A~- B~j A,- (DbjB-) A,jF~- A,jF~- (BjA-)
Z 7 7 7 7 7 7 7 7 7 7 7 7 7
r7 27 7 2 2 2 2 7
I 2 2 2 2 2 2 2 2
fe
GjF-
7
Z-
F-7
r7 r7 r7
GjF-
r7
B~7
r7
(B,jA,-)
r7 r7 Ir
FjE,-
E~-7
7
r7 r7 r7 Ir
FjE,-
AP
7
r7
(A,jG,-)
r7 77
(AjG-) (GjF-)
f
5 E~jC#-
r7 7
r r r r r
7717777
r r
EojO- (F~jE-) OjB-
r7 7
r 7
r 7r
C#jB-
r7 7
r 7
r 77
(EjD-)
(F jE,-) (E,jC-)
f
9 BjA-
r7 r7 r7 r7
BjA-
r7 r7
(DjC-)
r7 r7
AjG-
r7 r7 r7 r7
AjG-
r7 r7
(CjB'-)
r7 r7 -)-J
A-7 D7 G-7 C7
fe
7
E0
7
7
7
7
7
7
Z 7
A7~9
7
2
7
7
7
7
7
7
D0
7
7
7
2
7
2
7
I
7
G 7~9
7
7
7
2
7
7
7
f 2
C0
7
7
7
7
7
7
7
2
F7~9
7
2
7
2
7
7
7
2
Br 0
7
2
7
2
7
2
7
I
7
E,7,9
7
7
7
2
7
7
7
f 2
G#0
7
7
7
7
7
7
7
7
07~9
7
7
7
2
7
7
7
7
F~0
7
7
7
2
7
7
7
B7)9
7
7
7
7
7
7
7
7
H
Chapter 9
Try using this hexatonic on tune 11 as it sounds the ~9, ,5 and 13 of the chords.
At>jF~-
EjD-
FI:\~ 5
(E7/C=-)
5
(B/A-)
(A>/F=-)
(E/D-) (D/C-)
A7jF:i- A~jn- (B/A-)
F::-7 B7
(C/B,-) (B,/A7-)
B0 E71>9 A0 D7,9
GO C7~9 F0 B,7,9
~~~~~~~~~~~~~~
..:
Chapter 9
;~~;
."'9;."
TUNE 10 (CD TRACK 15) I H
"£1£b
Try using this hexatonic on tune 11 as it sounds the 19, ,5 and 13 of the chords.
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
C7
I
11
_«
, .
1
J fJ~J~5#fJ J G~ [#[ r!f t rfi- [!F#C trr rEx 4!,'
l~
Chapter 10
H-/C
!t
l;~
~ ill J~1 J#J~mm
=I J J-d
#
J J J~r ftr ~r EJ ~ II" r
II
~3~~ 1 J~J #J j #r
J J J 1] #3 [1[#6 IF 6-1' IE Efl
,. 35
~ - rr I -I .. I
til ". ..
I
7!
tJ" . ~ . J I I
-
I i l -- I
r .,.~ (e
-
~ I L
:4i~~
.. I ILf/"
I - -fII- .... 4
-
b-- .- [E r~p-EgE~fr iJ~~~3 iJ 3#3 iqJ~JJ \ '
b44~-~==-==--=fjff J J~4 2 JdF-Fi¥( eC'r ~!J
-fll-C -fII-~ _ I I i
;
I I J
..
Lf.
49
, 11m
tJ ..
53
60
, I
- -' I
~ .J MIIJ~E#Ft [ [E r CE L
.. J;tJ J] ja#J J j Jd Jina J;3 qJ Jdd j J«J J#J J ~ J4: '
9
J# Err t
[ [ Ef r .
5
11
..
I
::=
•
3
-
-
-
-
--
-
I
.L
~
~.
u ..
JL.
\I
c::
~
. '.L
.JI
V
L.
"'.: ~q .~~ ;§
.··--=E¢FT~--=:; ==~~-4Mti~~J.~'~~t'
:::t-Jr~fil=J=JfJ!]01Wrr=fi!rqFAy$f
.: u
~~t~~~-~Er··i-
.~<:t&: ,
J=;S--I=:;SJff.=~ij#J~;
~ ~Q '1 : Ol
~~rp;s=~~~il;'ji6'
~~~fp#~$J=fkkf_~W
: 9
~~Jt£~lf§.~~-@ttiJz¥t
L
·:"-:-~=====2-tm.J::N~F~i'fi=~lj~
.-=t=f!#J J?jp£J~~~=l
~ q ~ '1 . 's
. d.. .J iiJtjf¥Jj# a 4t~f~Jf~~¥fl f#
c. -"'~----y=!&f~ji;±§~~:~~~-tG~~--;~-F
.. ~~ ~.~..
~. 'u*~=E~ 5i~#=F £
.- ±~-DMaWJf¥Jidq¥3@PJ J Tt#I##$i·
. ~
"=C=:~=~c:-~~#,@@!fr L~ g~jkw l
'" .
I..:
t..~
. . . . . . . .~:~~_~.~~
-
- -
Br/E
10
t .. ..
•
11
.I" .
..
•
I
I ::'~1~ ~rf'r~tJ iiJ~j~J~j J~J9ja Jq:~a~iW 1 J~J~~J J ~L'
= . 'ill
=-1::1 7/(." gJ J Ed JJ)P l ] 24J~ J j J9J~ C~ eE;~ E:: F~r;
c:i ~ c:i. ~ ~~
I'
.(. .. ~ c:i
~~~r*r~r r er~E f jd9J~) J~Ja J Jd~J J J~J~J J '9'
~~J~J J J~J9Jd J/: JJJ'~~r~er c:F~rl 's'
Ar/D
mmmmm mm J # nub
t:
8
f t r r; #ee r; #0 r Er = #f ; IE r r'f IJ J j ,3
If OJ 2 JJ#]11
, # #~
," J J#J ,J ;j r
J J19 EIr If cIC #f i I[!r #f -$ Ec#r r #f qr CJ D
L
DESCENDING GRID: F~-/C-
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
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
~ ..., I
I
!
,.,
._
:u 'LJO
,
~
~.
u
I
1\
~
I
1\
~~
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.
I
F~- jC-
I I I l
A,-jD-
•1 - ~ . 1 b.
• - -
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: F=- C-
~
----e---
~--
=n -
-
u
-
~
. -~ ...
i ~ -e -e- I-'~
I
..J. I
..L
~
ro~~
-::::z.n
~
i .. !
!
I i i
i
~ I
-LJ
.
r'\ 3:I~ <t+
..;;
I '-,
i
i
I L
-LJ TY -I~
~
t. "
i
!
I ~~~-
t-
11
~~~~
I-
r'\ ~,
~~-
J--l10
v () -~
t. ! -8
i
!
i
I
II
~~~--++
~~~ra-~
~~~~~ ~
~~~-'---~~
EXAMPLE using the same melodic phrase from each staning note of the grid.
~ d~ ~~
·JiJ Cb:: I I il I JM J;-F E m~·-
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.
APPLICATIONS
Chord
C~- jG- (B~- jE-) B- jF- (Ab- jD-) A- jE~- (F~- jC
C Fait.
Chord ( F F B,7
3 D-7 G7,9
E'6
F7 D-7 G7
A7 D-7 G7 (-7 F7
alt,
:1
..
,. ",''',''-
• • I< '" ~ ~
.
__
Chord
A-7
alt.
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 3 11 5 13
C>9:
mm =~=m 'j J r ~ d
r
.... ....
# ~L m
C-A
~ m 'I
.
--
---::J
-I
---<
~
J
-
=j
1-1
1-1
1-1
LI
DO/CO
DO/CO
~ r -j ~r~C ~ oi I'~
For example, DO/CO can be played on diminished chords: C07, b07, F~o7 and A07
or the dominant chords A,7, B7, D7 and F7.
BO/CO hexatonic is another that can be played over those same chords.
BO/CO
~ Fe ] &r J-'r~
--: I
- -
Chapter I I
7 J I - ll.
-
.. I
- ...J
-
9
B-/C+
Hexatonic thirteen is a minor triad over an augmented triad separated by a half step.
B-/C+
~
~ c
@
~
For example, could be used on A-7, Ct>7=5, F:0 or B7,9sus4.
. :I
:, ~'.~. <' • •
B-/C+
~ .. - ~ ~r r~E~r IT1- U A
-
. . . IT
9 P -fill 3j; JIr
J Err J :![ r r L
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
I I T
I I I I
. . . . • •.f=.
..
'JJL
11
BO/C-
Hexatonic fifteen is a diminished triad and a minor triad separated by a half step.
BO/C
, ~I I J ~r J ~J :
(
~ -: I
..
:• . "'". r
• ~ 4 ~ • ~
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
" ~ ~f
b
, iJdddjJq]d r [ ry r nbf~ rbF f;~[~Ebf J r
APPLICATIONS.
B~-7 Dorian
17 A~-7 Dorian
E -7 Dorian
D-7 Dorian
@~~~~~~~~~~~~~I
TUNE 14 (CD TRACK 19) I C
C~-7 Dorian
9 B-7 Dorian
-7 Dorian
33 F-7 Dorian
~
7 777
////17:/// Tr1~Z L L L L .................
//L/ TTTZ
41 b-7 Dorian
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, OO/D-. 1
D-7 Dorian
9 C -7 Dorian
17 B~-7 Dorian
.! . . . . . . .-C'. FTz:7.:.'1
ZJ.iT7~~r.
G#-7 Dorian
.. ~ / / / 9
25 ~...'" .~ci~~····i~~~~··.·'+=~~:S~;
'7771
7...... . / / 77jTZ/ . ~. ;:;~'~I~~'~···~'
,_,,~, ~~~T~.~"~~'7~"""~7~g~;
, ~ .
.
33 F#-7 Dorian
41 E-7 Dorian
~~~~~~~~~~~~fZ~1
.I
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.
If"'
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-, B,+/A,+, E+ID, B/C+, G:o/A-.
A - 7 Dorian
~ Z7 Z7-./~ 7 7 7 71 z7 z777] z
777 7 7 Z ZZ:
Z 7 T
T Z ZZ z7,
77 7
Z2Z77 7 7 r
L T
L 7
L 7
L z Z
TT Z
777 7
z 2
2 z 7
Z L L L L L L L
9 G-7 Dorian
17 F-7 Dorian
25 E~-7 Dorian
Dorian
41 B -7 Dorian
@~~~~~~~~~~~H
> -,
9 Ab 7 Dorian
Dorian
25
7 Dorian
ACKNOWLEDGMENTS
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.
- --I
_ _ _. L . - _ ......I...