Jerry Bergonzi Vol 7 Hexatonics

vol.
7
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
,,:h.1 pter :J F: C ...................... . . 1 1 ;
,,~hapter 6 D- C ......................................... . .1-+ 1
,,~hapter 7 13, C 167
~:hapt<:'r X B-C · .. 193
Chapter 9 DiC- · .. 219
,,~ha pter 10 F~-/C- .............................. ... . .... . · .. 2-t!
~:hapter 11 Other Hexatonics ................ . ..................... 271
D+/C+ ..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... .271
DO/CO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
13-/C+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .273
B~+/C . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .277
BO/C- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .279
E,-/C ..... .................. ................... .2X 1
.\~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)
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.
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
, 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
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.
:I
DC
.
~
..-
~-=FJ J JJ# ~J J J-r-.

~ f r r
~. E ~ ~ -
•t Pr=r r f Eft
-=!- ~ r F I'~ ~j-• F J
(;1'c
L L: #
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
...
r f F#r E#[ E f r r #r r j rr[t r F

~. ~
'0 P
61.
r G_ IT j r1-t[U-Cc r#[f~~~~~
~ J:l - =1'# [ r k-~ ?
J J In J J J - s,
r [! f r J· J. J J J ~ J Jn3J J J 3;2 Jnd J J JJ J.,?
- ..... __.... Q
-
WlU
- ....- .... -
-
~
Die
_ _""""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
C-~ J J J 3 J#3 JJ J J JJ JJ J ~ J J J' 2J
• 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 ~ ElLL
·~'¥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 ••• .
ifJ=.. E I I f' [~E. - c
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
...
f 7~;~ Ef Et lei rr r ; [it e; [ r rf IJ ~ J 3 r

..
~
•
9
..
',1:. . _
-Zr- z~ .
•
fI
m~~~···~~
:l a ;p :l j JJ J JqJJq:l JJJ J?J JJ J JgJ;%~?
•
1
..
~;;:~···""'--~~··········~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 --=
~':~&~~& ~ 3J J n JJJiJ J J dE nr dr rj [ r r ff €Lrtf

q
~':a&~~~ f IT r~ t t f~ [ r rJi rgr; [---I....-:t

f ~E • r -rbE ~• ~ jJ J J f1~ 'I
I.
.. 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..
E=--=-----...f:~. "r~ "II
~ Fd Ji~
jia~ r i ,
E~~~·. ---dtj=- j J JFj=:j=JJ=JJ#JJ #I~,
..'1 ~-i
- _~~ ~
g3 JSJill J WiJ fJ 3iQ J Jj,J or r F U#f r
~
b'u
-, ~ if
.~J#[ [ EJ" E§EJ ~J n H J,3 JJJJ J lfJ#J J Jg##t'
~~rg#iJ J JciJ Jildp J J JfJ r j [ Fer E1
r:a E f ##
J [IE F:fM it J J] J J j J JfJJj J9#3 fill ~ #\'
. =21 JiJOWJllJ43 r r f r 'ad 3 EEfJt-@!4~
__.._f Er=tu-tu ~1lrnn rU 1] n-=tr#lJ ~
J J#J Jtd a J JJ a,u J jjli] H r rt ef r ~#I<'
r [ Ffry J J J 3 j W, J 31J JJ a 1; JJa J j JJ ##~
ED
2 JL
~. -~ • ~ #~ ~. ~
fi Ef § = ; r [ rEf [ t'e f r
#
E:~ L F jiB Ff
.~ :: .i ] J ~ ,f ],3 J EI J J E'e ~ r [ t tJ ErE if F

3
I
74,~gr ~#~ i#~-~ ~ ~
~ - T :a=bi F:;J::
. G~fu
H~ .
Ery=€EtP=-==gj
._..
,~# ~-J O,l-mIO-] [rTfL=t=clf4I£; f rt:fi-

5
-----=j
,\ € € 2ff lC~r Fetf_~-t--fJ,J JT~-~
,·#fJi1M~1.~Itt F rJtftrfF
7
J
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
9
l~~ t f (1 [ [ E;#F i PI Cr#fl Er [f J J mfJ J3m

r~£J JJ] J UP r f [1 c rtf Er~j; Eer f t f (1
#
U
11 .
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.
J C E/D F~/E G IF A~/G~ A/G B~/Ab B/A e/B;' C#/B
•- 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.
Die Eb/D~ E/D F/E~
~ [F rf EFfJ Ig&E:t E~ I~J JJ [IE [~ I iJ J)~[ EFjJJ

EXAMPLE using different melodic phrases from each starting note of the grid.
Die Eb/D~ E/D FjEb
F~jE GjF AbjGb AjG
, #c£ fu8*efr!t Ii jJ Jr rLc IbUPU '[ fe, IJ-"'I'-q ~ ~ ~ j] II

#"""-'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: DIC
D/C q/B C/B~ BjA BojAo A/G A:>jG, GjF FjE, EjD EbjD~
U -e- ft-e "-" -It"-"
,...
1'1
ttl "-" "
,...
u
,...
U -e ~
1'1
DjC qjB CjBf, BjA
DjC qjB CjB~ BjA
, J] J#J iJ JJ I ~jJ #J.J f JIJ iJ I Pc rrJJ J JI #M J J ~iJ J J I

B;,jA~ AjG AbjGb GjF
, ~iJ OJ jjd J I Pc f; J J n 1':~rtr~r~Cff I[ ru EE EO; II

grid. Have each hexatonic be 1 bar,2 bars or 4 bars each.
~~ I
APPLI CATIONS
c 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
c
FIE,
t
~~. ,Y"C F7 sus
B,/A, F/H
L
B,7 sus F7 sus
B71 A, F/H
(7 sus B~7 sus F7 sus
TUNE 2 (CD TRACKS 5 e>" 6) I C
B~7 sus
B,7 sus
D/( G/F (/B, F/H
t~
D7 G7 (7 sus F7 sus
B'/A,
.~
B,7 sus
"
TUNE 3 (CD TRACK 7) I C
C
,;t
5 D/C BD/A~
A-7 D7 alt,
TUNE 1 (CD TRACKS 3 er 4) I B,

~'Bb
t...
Chord G 7 sus
t.
C7 sus G 7 sus
D/C C/B~ G/F
~.
t.
7
7
7
7
7
7
7
7
D 7 sus C7 sus G7 sus
:'I
~ TUNE 2 (CD TRACKS 5 er 6) I B~
~~ c/B~
¥=zzzzi C7 SUS
rTTZ
7 7 7 7
rTTZ Z 7 TT rTTZ //LZ rTZL
9 C/Bt>
~
7 Z Z 7
///z /z// ,7 Z 7 IZ Z Z //z/ /7// ///:Z
C7 sus
17 E/D A/G D/C G/F
/ / / / 1 //~77/d / / / / 1777 7[?Z 77 [ 7 7 7~

E7 A7 D 7 sus G7 sus
TUNE 3 (CD TRACK 7) I B~

D
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
A/G G/F Die
A7 sus G 7 sus D7 sus
TUNE 2 (CD TRACKS 5 eT 6) I Eb
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
I TUNE 3 (CD TRACK?) I E~

~E~
G~/F~ A/G
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:
F~o, D7, D7sus4, Gb.7Slls4 and B-7 Phrygian.
Again, there are 72 different melodies written out. Select a few to practice and play in
all keys keeping in mind what chords they may fit over.
B-/C
" j J J J g;J JEj J a J#i J J J cf f1 crIf r r
*1 p~7i3W#---=ftl-l_~t-j~#-@*~,,=:~~
~J4=A:#FH~m:f=-:ftjt-%~~=---==
~IW4--t--± J {tfi=!;~i ~~~£Et=;~~=~_~-
'!~I~~~-=-rd~~=~-~C:=
~¥U:aiif ij~Tr Y-f£f- r r_~-=-----=:=:=--

~o j §t1r= t #E~ it ft]! IT Ffq r ra --
t 11 . . _ i ~=*~3 FJ0J . ... ~
j ~=t J#j'Ej 3 J j #ih'i" t 7 r c=t F F
Em
"- ':.i :":.: t'
-
- .. -
B-/C ~
-
25
.II..
J J J#0 If
4=:1 J J;J [ Err [ r r C r ~rj F I
26
; Er Ott [ r r :~ IT r j f J J#J ~ J l~# ~. J j

I
, 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 •.
- .
.. ._]
- ..
3JJJ#J~=r; r=r r fJdi4 =:j
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
; J J#J Jj J ~ J#E E F:r L_ j f r p[

35
i
~J J~ ~
E~
J F I
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
,,49 r-- r I I I I I I <'I
'" • • ~
tJ . • I- I I I J -
~51 {= J~J ] f J. J J iiJ J J #i j Jj CF r Fer r~ j
tt=-w-c- t Hr 5' E=f-#fg -[~r r r=t=tO=Ef=r-:f--··

54 ~~ E: ~ f!:-f' ~ ~. =:J
--=-3
-f JJJ;3 fJ Jgi J J¥i if J#J ] J-j J0.f Fi:f#fH"*@

~ f- ~ ~ ~ ~ ~ ~~ #r- 10=.
tEL UP h r [oF IT dr t f :F J EEet FEr J
56 fL
C[ r::t L
~57 fJ ]J J#J J J J j J 3 j j J J#J ] J#J [ r l 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
tLlLttf [ C~-m rjC [jr; E [L{ef=t; r ==d

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
~f [1 t k E9~ EEb#Ef-Jr3":! [F; E9r Fj=F -j
• iq~}-ifi3=E [ Ei t m i rtr E .qj

,\b t-fft-j 8prtltr-=r1=§4SaSJ JIJ-}J~-~1
• fJ14fJtW~ J Jd J j fPc r Er rJi£~c5 F:=-~
.11 Fj ElF rr J J JJ jlil fJ\3 3 J irIa Jl'} J q
t
,9~~ J J J.3 J ] J ~J J <l EF Ef [ r~c; cFfi ~j rEf LJ
,'~~ fE [lEE [1 30J Fr Er 3Ef iJ JJ ~ ~ aP J J j JJfJd
~~ ~ t ~ ~q~
'~b J J 3\J J J J\3 t J oj JE E~f; r r9r 1 ( [9CY [ t CJ= U
11 -
"~b CEt! qj r P; q§ Erf 3[ FG' [3 JJJ J JiJ ) J J\3 f="J II

~: • J'mm .- Jl ~ -fa d ~ r .!
1= -:. L-F-F;rt g:Jj ~ gJj t JJ JJiJ J J JiJJ ~ '.''1
'7Ii ..". ZL
- ~ 3: z.. g
Jp J J £]J J i JP! F t r f E [ Cl~ brrr ",-*
:; .." .." LL
:i f [ flgj [ [J LF~r; iJ JJ J JJ~J J J JJlP J J '<)
6
L
r r Err [ [g rtJ~ J j J J j J 3 J Ja 3 ~ gJ~ \'9?
dJ1~ 3 3l J 3 J i J UTI t: ri r-; C9 j r F ~ F v,?
E
G-/A.1
it
~ ?~f:::~ J........ ... . . - 6"
FCE't~. . :. . :.• ..j n
~~ ~=~- ·iJ -
[ r f:!= [: r r~ [ r FF v~
...... -
:t~~h' e€sS' q[ BEi EW [ [~EJ t t Er PE rJ F

p'
II
f'- re
JIJDd31i~JiJ~J~3~ Jair! [#[g r~cr F!f#[jiCF~~= F[1
I
#1#\'
J rsrgr# r [g c~ c! f J~ 3~ 3, J Jd~ J. a Jd~J~ aJ~g~g J IIIb '
9
I.
L
r f\r:F t f r f RiJ 3 hJ JJ j JJ1 J Jd g ~\~
~
..<.i!-:c
J'_
C:-/D
~'#~ J 2J J jJJ J~ ~ J J JIe L rJ t rOE F#f r r
9
DESCENDING GRID: B-jC
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
B-/C C-/C~ C~-/D D-/Eb
B C-/C~ C~-/D D-/b
~ j rt r j J J1!J I Jd J J~J ~JwJ J IE t#[ Pc IT t rIrE [idr fif II

, ASCENDING GRID: B-jC
B B,-/B A-/B~ G~-/A G-/Ap F::-/G F-/G~ E-/F D~-/E D q-/D C D'
t..
t..
t..
to
B-/C B,-/B A-/Bb G#-/A
f jJ JJ~]]J I J:=~!JJJ~M I Dd J JJ j] I ~~"""~J~Jj]#Ij • ~ :1

3-/C B~-/B A-/B, G~-/A
~ ~ §f r ~J JJ I ~r 't F~r~; Ii #J die [ frE r' L~ I 'E E~[::f ~~I

:\150, try improvising any rhythm but starting your phrase on the notes of the
grid. Have each hexatonic 1 bar,2 bars or 4 bars each.
APPLICATIONS
c Try llsing this hexatonic on tunes I, 2 and 4 as follows.
TUNE 1 (CD TRACKS 3 e; 4) I C
G-jAl> D-jEo
BPsus F7 sus
TUNE 2 (CD TRACKS 5 e; 6) I C
9 G-jAb
7
L
I" fL 7 7 z7777177771
z z r 7 TTZ 77 7 Z ////1////1///4
BPsus
17 B-jC E-jF D-jEl>
07 G7 C 7sus F7 sus
G-jAb
rTLZ
77 7 7
,Z7 rz
7 771 7 77
77,7 'I r'TZ 7 ,Z Z //// 2 727 rTLL
BPsus
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 z z Z Z 7 7 7.1 Z 7 7 7
//// Z
z Zz 7 z Zz
" ""
B~-jE~ DtI-
TUNE 1 (CD TRACKS 3 er 4) I Bo
I Chord G 7 sus
'- (7 sus G 7 sus
'
~
D 7 sus (7 sus G 7 sus
TUNE 2 (CD TRACKS 5 er 6) I BJ
(7 sus
'7 q-/D B-/( E-/F

7r7
r ,z771//// rz- rz Z
77J717777
2 r rrTZ
L TI
7 .z
7
Z
7
7 f , 7 "I
T T L...·' 771M
zrr.
E7 A7 D7 sus G 7sus
TUNE 4 (CD TRACK 8) I BJ
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
A 7 sus G 7 sus D 7 sus
TUNE 2 (CD TRACKS 5 eT 6) I H
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
G:-/A q-/D F~-/G B-/C
£
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
TUNE 4 (CD TRACK 8) I E~
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
=i9J ~ ] ~j~a j c [ fJ J~J d

2 - , .
il
j. · §
C E n~ E ~ E1 == == 2-==
mj~ ~ ~
fr f+;lc#r4J[ r et ter B 0;J JIJ J ] ~lJ~J J4 ggj

"g C'r4- . _J
t~tJ #J ; J~c r If f r ~-
il"l
Ef Fr
29 r
..._.__
. .
tt--r~-:f4ll !~ f.-E r.r=~j J #Jffd~=,==-~ggj

'*1#J #J i 3J J [T Fir [ Ff¥#~[ r '[1 f --.--~-==i
t 1J #E t·( t Em rr=trX1E[lr f J:J1J r ~
~ j;J #J ~ ~~ J ;~J J
!t $ ) ': =1=
1..-(ti.-t_;;J
"It
t.
'r FEe 'E IT t 7J
ff Ir Et f 'r #(:r [ r It J e§j] J j 2is #3 J J -I
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
fr EIe J [~r r r [ r F r 't IE r~ OW JIJ J j #J
t2@f lu:tn ~ [IPC~E F%J. EIf t J ~rlJj_··.-~=-=3

~A~£bij~JiJ -.. - i'if ~ If
~~~-~ =~=~=~---et-
53 . t- . -~
t:~t Nt-dE; IF ~--t r EJ¥Ur;; IEffJ gFt !r-.~.~
,5 Jwittl'4PJJ JidWiJ Jfij}==fi-UPtr-.• §l
ftE-ml'i FUItE'drfl'b-c Er~ E E_t]-:R:-~

57 ~« ~J"~J~~~~~f4t • I
f ,J J J#hc F [} J: J 3 JIE [ eyE E [~ r r [; I
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
tap j ~~U #J j j J. J 2 t;1 JIJ -R-f-~- _-c~

~~tlF.r rle!f t *f5rnFtf [#t2t~- .~
~. 5=rL'h+Itlk=~~!~==EiWif+J.f-·f---:-=-~_~-~
=!=~-=-n~~ ~···-T-=r=a =t.-t;;;;;;~.-~
=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
,'Of IT r r~E f r rlt: P1£t lr*r r[ r r'f ij Jjj ~ JaJ~w

~e ;e#~
l J J~j#~ J J am Elf [1 E:'etg·=tH#r p~ r ru
TI
1 IT E
,"[we f'c j f Dpc r fICE E! [IE ET J~ ~ ~J~f£ j Q#1'J II

q
J i J# J3d J J 3 ~ J iii J, L F U~ [! r;1 r~ Er ~
. § ~ ,?
.. , .,
,.
....
2 JL
8
I'. I ...... _ L .",. _ II T ... L -
11
I~~t. -" ~. •
•
•
J ;$J J#J fJ q
J] J Jd~3#J J j J Jag 3 2 J:O v.:
i J ~J JJJ 3d 9 j J J J ~ J Jdq j J J j V,,.
I-
Ic~ ::'E>-,r-: .:.:j j ~ JiJ JD ~J Jdqj J JdqiJ J JqJ Jd ~ v<,?
~_111=-J ~ f3 qJ JfJ~3P ; JEJ~J J J JqJ Of U [!flf ~ ~~5!?
*: . ~ LL
6
r T 1 .~ .
....... ~
I.. • I '1]
- ~
r c;....... 3d J Jdqj J JqJ JJ JJqg ~ ~~~<t'
Fj 3 i ~ fl
q" q W
dJJJ 9J 3 J ~ 3 J J ~ = = C[I fJ [I 0= f C ~Ns'
q
W ~jdq Ji j JJJ Jd qJOq j J JJ J= JJ~ JJ Jgg ~~q9~~
~--
FG,
L
II t;:c~rijfTd~MIMBd~J~J;Jda~JqMd~J;9AJdd~3 ~ ~I~~~~
~~~J~JdqJ~jp~ WIJ~£J~ J!J ~J~ P rr! rif~jg [#c#r jg r~rf #I:\~
er~( f f!f~O f f;! ci rtF ijJ~ J! WJ JdP~ J J J~J~J~J j J ##~~~,~
g
J"J~fJ~ M~~3 JPI<ld~ j w,JiJ~M rl f#fg r~c f#ftr~ c j r r #I#\?
g
F# ~ r fr [[# FYI
j
c~ f~ [J 1& 3;J~ JIC I......J_
[ r~#;;3 ~ J~ WI oJ
____ J
J JJ ###~s ~
8
g
w, JiJd~3 m), M~ Jd~ j W, cl [# [~ F~ ~ r Fry# ef fl~ cf fi #'##s,?
r f~ rqr# f [q c~ cl [ oJ~ Jd, W wd~ J~ J jd~3~ J J~J~ J J #I#I\~
oJ! E~ [g PJI E[ FyI Jj Jda~ j J Jd~ JPda~ J J J J ~~~\~
oJ! 4J~ J! J~ [ r' F1# Lr! PP Er! crt [g r~ f$~ [ r r r \::~." •
E,E
zi*b L[fJ"L"["fX~r~r [ rqrPfbpgf[ [#G4&f' . 1
4~~~ -f$j-m41iJ~E~~F~ ~p~.fwj4:~-=---=~~

6 f!:. ~f!:. D q D . ., • .
~-041 fSc F~f qf~FM# ~@3fj- =--·_·-41
*-~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
,'*b fad iJdjJ ~J P~(Fit!f~Ebb bft icbj qfr~[ ~b ~f"r"fqf#r~"U

f!:. ~f!:. ~.L b~ ~t ~
m~ }3gtp jll Jj
.fL
-
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
ern f rt~E t f; :~r~1' r iJ J~J :J J]) :J J JJ#l#J JJ t'
F mdJ J J £) JJ J#] JJ j JII~a r r ri~C Fti#c r r~ 1 '
6
E j 4J JJtJ J-;~J#] J J ([ r r~£J J. ~ f e1-}#CF riw L
~~~~~~~~~.~J:~ ?:
; ~J J11J11iJ ~ J J e'rllEfJ r. r F~ [ r#F ;#2 r rt~
Chapter 3
DESCENDING GRID: B/C

B/C C/Q CVD D E/F F/F~ F~/G G/A~ A/B~ B~/B
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>
· -, -
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
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·
;. I
Chapter 3
APPLICATIONS
TUNE 5 (CD TRACKS 9 eT 10) I C
13
17 Djb DjE~ AjB~
(-7 F7
29
(7~9
This hexatonic when played over a minor 7,5 chord (0) sounds a ,9 and a n 3 which
mayor may not be what you want. Try it, you might like it! On a minor 7th chord, the
upper triad sounds the 9, :11 and 13. On a dominant chord, the two triads include the
:9 and the ,9 as well as the: 11 and the . Like a blues scale, in the wrong hands this
TUNE 6 (PROGRESSION 1) (CD TRACK 11) I C
B~-7 EP A~-7 OP
F~-7 B7 E-7 A7
TUNE 7 (PROGRESSION 2) (CD TRACK 12) I C
FjG~ /. HjE /.
" E~-7 A~7 q-7 F#l
" B-7 E7 A-7 07
/. GjA~ /.
" G-7 (7 F-7 BP
Of course, improvising and using only one particular hexatonic sounds very 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
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
' D G7 Ct-.
'
F-7 Bi:t7 E-7 A7
,. D
• All! D7t>9 All! D7~9
All! D7l19 All! D7~9
This hexatonic when played over a minor 7,5 chord (0) sounds a 1>9 and a : 13 which
not what you want. Try it, you might like it! On a minor 7th chord, the
upper Wad sounds the 9, n 1 and 13. On a dominant chord, the two triads include the
:9 and the ,9 as well as the: 11 and the yd, Like a blues scale, in the wrong hands this
L'ould be devastating!
"I
..
Chapter 3
TUNE 6 (PROGRESSION 1) (CD TRACK 11) I 60
CjOt>
B~-7 EP
A~jA
Ob7 B7
TUNE 7 (PROGRESSION 2) (CD TRACK 12) I 6~
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
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
TUNE 7 (CD TRACK 12) I Bb
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
F-7 Bb? ED-7 AD7
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
• C:-7 F#7 B-7 E7
,. BbjB Al)jA
~
.......
_
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
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
HEXATO.~~Zs I
TUNE 5 (CD TRACKS 9 enol I E?
... : 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~
(j:/D :/. B/( :/.
-'If
,.
7 7 7 7 7 Z 7
2 2 2 Z / 2 7 2 I 7
4
• B-7 E7 A-7 D7
,. A /B, :/. G/A, :/.
~
__ - 4
• G-7 (7 F-7 Bt>7
,. :;: 'G, :/. Eb/E :/.
--~• b-7 A,7 (~-7 F~7
TUNE 7 (PROGRESSION 2) (CD TRACK 12) I Eb
D/Eb :/. (1 m :/.

~ (f .. 7 4
• (-7 F7 BD-7 EP
:/. A~/A :/.
41
A,-7 Dt>7 F~-7 B7
r
F=IG :/. ElF :/.
~
. E-7 A7 D-7 G7
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,
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
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
3
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
. '=c[ j '( pgJjJ LJ#;] J
~, J-SJt~~~ JiJ$J,c FPJ- J1];1*[#[ gf!r fE rr LGqOr ~
8
ttL [J rc fff t'-[ 'e f frJ[ [ F,i JiJ Jf~ JfJ ] ~iJ IJ J ~
g
[
~9 j 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 E e[ gr f [IC [Ir tiJ Ja Jj3 JJ#fil
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 ~~ '.~
~=m~WllaJ MJ r# r[' rq ~ JME T[!J'~fk~ L
~~iJ~J3J~
Etm __· "J
g{JqJ J~~J#J J JP fitr;J J#cijF1f ~ elF F~7 s
tt
t
--- , ...
11
3
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-=--$![ ffj mE3 ~J 3d n~a~J J 3~J O~fjij~41~J 3~~
--'- -iJdfiJ~iPF~¥1fJ j 3J&tJJd r fij[fltwr F&i:,,~
:·~f!~TJ~LJ J;J@t1£r1tW~J 3\J "'/:~ .
--lQJW)=~ JWJ;Jt¥f~Jld1Jg~ EI[y: cf 9fi Ii,,?
~- g-f~ f ~=fA[;;-~-
- ..-~ ... .. ·
~j{JP~=f~-ij_t-'b·-.t
f
;;=~---TlJ J~J j J~J JbAJ J4jJ-J 9J t Wgr~;"
_._. .~~J~J~.%ij~j~~Jti1~.·~.···J~bJ~J~~J~~J~J~~;j~qiJ~J~fJ;~J~~~~J~R~Jd~g@£i~'7-_7
, .." .
J J# J~ J%f J. 3~ J J J. ] r pI r Pr F' [2m! r &1' 'b;
£ "
J J Jd JQJ 3d J ,3 Jd~J J j J~J#Jd#d J J JqJ~·t
.." t
9E
J JdA3 ij J 3d J;J J1Pr Fry [!r
ate r f-@; .,
~~:y/ ;jbPd jqJ#J L r r!PLiF#~g7i[ [lEi [#r [1 c
-'
II
I
I: . 8~ ..,..:.. ~.~ "'~ljIJdgJd,JqJjJdn3~JqJqOld~~9AJdd#~q 9 1I',:~,t
q
q .. "
-. ;:;:.",:JdqjP, Ol,3 q(J, Jig iJ, Jigi AJ IJI31af# r~ r# r rJ #,.:;~
. ;g:[ f f11E#[ r~1 £J1~a JiJAg aJqJ~ J,a Jqitq~qi~ J]J J
d d#,:: ~:""
~ ., fI
.,7:: J3qJqJ,~J JqOl, alJ, JqJ, lf3 1JIJ rl rl[II r1( 01rft C[I [ £ #$}-~ 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 #$. :S
..
~
Cf! r# r~ [ [# r1 r!;dd! J, 3 Wdd 3 \J J J ~-'~
q ril~ ilq dd# @q J >:\!'
q
J#J J~ J J jP, :Jd £J! Ol~ J, ~-J--~J~!JI(1 C# [#;! E# r f-~ #~,:s 7
q q q
q .. s
JI~ Jd, 31J J Jq 3, ~ Jd~ J~ a JdqJqJiJdqJ~ Jd JJ \\7
w, £JI:J1JI£J ~dl [! F1 fJ1 [I 01[JI [1 f# fie [I f rf ::':57
.. .
J![1f#F¥!J Jdd,£3dd,J 3 Jd J 3d 1 f3 J]~q #;t~4 ~q;t ;sf=
.... -
~- ~ r
J! ~ J, J! Ol1[: J, J! JI r!
e rf r[a of r[1 crt [[I r£ #:.. :5~.
7
t. ....
~.. :: . .
•
L:.
....
, .
Ll
# ~ q
fjd#J#JeJ~~J Ji~Jd~J J hU! ~qj#j#3q J'I Jqt Eq~J! me r~ t\f
J#L~ rqFffJd#J~ ~ Jij 3~== # q q ~ •
E J# Jn~JqJ ~ J#30dd~J j~j#J~ J9Jg~;#J:!Jrr#b E~~ t=j ($ ~~
•
s
•
, l
5
- I ......
: 'I I
DESCENDING GRID: B+/C+
c- c- C+ C+ jD+ D+ jE,+ E,+ jE+ E+ jF+ G+jA,+ A~+jA+ A+jB,+ B,+jB+

1".
, i
~ ..
I
•.••.
II +t ......
~
/
7 "
---+i
7
tho
I
•
I
1".
~_.f'_.
. ...
"
~ I
C~+jD+
C+jC~+ C~+ jD+ D+ jE,+
grid. Have each hexatonic be 1 bar,2 bars or 4 bars each.
ASCENDING GRID: B+jC+
,. B+/C+ BI>+/B+ A+/B>+ A>+/A+ G+/A>+ F:+/G+ F+/F:+ E+/F+ E>+/E+ O+/E>+ 0>+/0+ C+/o,
• -e ~ ~
~ ~
l'
:7: -.
--
•
,.
L
•
,.
L
• v v ~,
,.
• '", '",
~.
B+/C+ B>+/B+ A+ /B>+ A>+/ A+
~ Ef f.!J' rlr LJ I rr nr iefr L~ J I e[

j
nr EIr FJ I E~r H#[ [ F..
B+ /C+ B,+/B+ A+ /B>+ A>+ / A+
, SJ j J N#J J I er LJ JiJd#J I jJd J#J JqJJ I jJ ] jqf],,,:

. ·1
-I APPLICATIONS
J(:
,. G- A,- C+ /D1+ (E1+jE+) G+/ A~+ Gr+ /G+ (A~+/A+)
~(' /
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
I
7
7
7
7
7
• A, \ B~-7 E17 A~f\.. E~-7 AP
,
•
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
• B,-7 E17 C-7 F7
E-jF+ /. (G+ / A1+) D+ /E1+ (F+/F#+) C+/Db+ (E~+jE+)
~
~
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
D-7 G7 C-7 F7 B~-7 EP
G- / A1+ C+/Db+ (E1+ jE+) G+/ Ab+ G~+/G+ (A~+/A+)
~• 7
7
7
7
7
7
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
A, \ B~-7 E~7 A~f\.. Eb-7 AP
C+ /D1+ G+/AiJ+ D+/E1+ /. (F+ /F#+)
is
~
/
7
7
7
7
7
7
7
7
D0
7
7
7
/
7
G719r13
/ /
C-7
7
/
7
7
7
7
7
F7~9
7
7
/
7
/
7
Z
7
D,-"
C+ /D1+ /. (E1+ jE+) F+ /F#+ /.
&
~
/
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
B,-7 E,7 F7 alt.
C+ /D,+ /. (E~+ jE+) G+/ Ab+ C+ /D~+ E~+ jE+
&
~
/
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
2
7
2
7
7
7
7
7
2
7
2
7
7
7
B,-7 EP Abf\.. B~-7 EP
The chords in parenthesis are optional as they create more of an altered sound.
c
- E,+/E+ B+jC+
. E.'.~5 C~#5
::; - / A,+ E+jF+
-\~\: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
""
. . ~ ..
./ TUNE 8 (CD TRACK 13) I B~
''Sb Hexaton Ie
A+ /B~+ D+/E~+ (F+ jGD+) A+ /BD+ Ab+/A+ (B~+/B+)
, {! ,
7
7
7
7
7
7
7
2
7
2
7
7
7
2
7
2
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
Chord B,ll (-7 F7 B,ll F-7 Bb7
,
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
~
TUNE 12 (CD TRACK 17) I B, /I"
-' . . : F+/Gb+
--S'
O+/D+
.: G~A~5 DA~5
;- /B,+ F~+ /G+
3",\::5 GAtS
:,)- /E,+ B,+ /B+

If
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
--&• F.\:5 DDA~5

Chapter 4
Hexatonic
Chord FII -7 7 -7
5 A+ jBb+ E+jF+ B+jC+ Yo (D+jE~+)
A-7 D7~9
D7
(F+ jG7t)
F7
alt.
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
:.- /B,+ F+ jG~+
3~~::5 G~",#5
J - / E,+ B~+jB+
:.:' \::5 B",~5
=:-/G+ Eb+ jE+

,.
G \::5 E!:J.~5
.. 3- ,/C+ G+jA~+
~
.,
7 7
7
7
7
Z
Z
~~+ / 7
7
Z
7
7
7
I
7
7
C\::5 A7",~5
CHAPTER 5
The fifth hexatonic is two major triads a tritone apart.
FVC
~~ r #1 : ~J f ~
This hexatonic creates part of a diminished scale and could be used over C7, H7
or A7. Played on a C dominant 7, the hexatonic spells out the root, ~9, 3rcl, n I, and
7'h of the chord.
on a C7 on an E?7 on an F~7 on an A 7
t.. ... ~ ...

root ,9 3 ~11 5 7 13 7 ,9 :9 3 5
... ...
:11
~
5 7 root ,9 3
... ...
~9
~
3 5 13 7 -9
Again here are 72 melodies based on hexatonic.
.. -I
11
, j J 3#3 #; #3 j J J#J#3#J J J J#J#[ #F Fi F

-~====--
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
~ J J J#JiJ~J J [ r r~#~J f ar!t ~r r rt-EPrW F

r""
) ~~
J J
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 .~.
-
r [# [~c P [I r:f fj.j aWJ Jd J\ wideJ ] Odd. ...

....... - .......
~~~~~~,:
e
.. ,..
~~~~~?
•
DB,
~
l~._......~.~. . . . i 4
...."'1 .
, ~-- .. --------~--- ..
~ ~
,4. Cf r:£ #E ~e #[ ~r ELF:r q[ ~Pr! c[ r;; if gPer r

1
,
11
I -.
5
~ ...
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
., ,. ...
, .,
.." .
3
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
,8 Ei rlfrqr f [ Frfrt rF j Ja~bE r fJ £Jd ij3:j:

1
#
~ .
9
,'#~ ef ES~[ f r r~f~f (1 Ctr'F: r r9ci'F J J jbJ qJ J J JaW ~

i-# -i J.JbJ~J JJJqrbr Fi:·r~rT [lEi E[~rr~f f f!~U ...."
:
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)
-,
G~/C G/D~ A/E~
G~/C A~/D A/E~
ASCENDING GRID: F; IC
;=/C FIB E/B~ E~/A D/A~ D~/G C/F~ B/F BolE Alb A~/D G. D'
~~~~~~~~~~~~~~
~
~ I l+ ,... I I I
.. ,
~e-
~~~~~~~~~~~~~~~
~=;=
...
=: C FIB E/B, E~/A
~~
-
•
lJ#J11J ~ I J3JJ#£J JJ iJP JiJ1J J I ~iJd JJJr- ~
I
=: C FIB E/B~ E~/A
~
It
:\1so, try improvising using any rhythm but starting your phrase on the notes of the
. : -I
· ,.. '" :::
APPLICATIONS
c Try using major triads a tritone apart on tune 8 over the dominant chords.
Hexatonic AjE~ (F~jC) DjA~ (BjF)
Chord
5 BjF (A~jD)
9 AjEb (F~jC) BjF (A~jD)
13 BjF (A!7jD) AjEb (njC)
G7 C-7 F7 B[1-7 Eb7
17 Ajb (F~jC) DjA~ (BjF'
21 DbjG (B~jE) BjF (AbjD)
D (-7
AjEb (njC) BjF
alt.
29 AjH (F~jC
Hexatonics in parenthesis create a higher non'""", of tension.

B~
B/F (A,/D) E/Bb (m/G)
e·~~~~~~~~~~~~~~
3,\ (-7 F7 B~1'l F-7 B~7
Eb/ A ((/F:) Dt>/G (Bb/E)
~.\ EO A7'o9'D13 D-7 G779
B/F (Ary/D) Dp/G (B~/E)
(-7 F7 D-7 G7
Eb/A ((/F~) miG (B~/E) B/F (Ab/D)

~
~
--• E-7 A7 D-7 G7 (-7 F7
B/F (Ab/D) E/B~ (m/G)
• B7~ (-7 F7 Bb~ F-7 B~7
E,/A ((/F~) Dr/G (Bb/E)
It
b~ EO A7~9b13 D-7 G7r9
B/F (Ar/D) Dr/G
t..
(-7 F7 DO G 7 alt.
B/F (A~/D) B/F (Ar/D)
(-7 F7 B711 (-7 F7
Hexatonics in parenthesis create a higher degree of tension.
139
1
Chapter 5
--------,
TUNE 8 (CD TRACK 13) I H
,
Hexatonic
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
A-7
Z 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
21 B~jE (Gjm) A~jD (F jB)
~ 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
25 G~j( (E~j A) A~jD
~
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
2 2 2 7 2 2 2 2 2 2 2 2 7 2 2 7
I
G-7 (7 A0 D7 a lt.
29 G~j( (E~j A) G~j( (E, :.
~ 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
G-7 (7 FL'. G-7 (7
Hexatonics in parenthesis create a higher degree of tension.

The sixth hexatonic is two minor triads a whole step apart.
EXAMPLE: D-/C
D-jC
~ =teE -r:: 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
7f • . . .P " ' . . . l IJ ITI.
=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
f2;~ EErr L r r1 rEf f J J J 3 d J J J J :
f2;~ jJ Jk] JJEF Sf iJ j J C{-f r c: r [fHJI-it ~
-h. ~ .CF
Jjil>£tEJ ~ f9Ycr-=---:=H=-=
r=f:=.-~H¥#tt-R JJ JJ J) J~. -
_..~m= :
-
~ ] 1 j 3EfErr! fl-@FtL r r_.=...::::-~._.m. ~
~#W=t r f j r f ~lll=1=J=~==~ ~-- .

.- ~ r ~ r f f ..._._..
f~' J ¥:B1£ifiFcr r::e#H~=} 2 :: - -
3'. . ..
-==-.c._.
[
'~f f; r IT r r jUPFf-w J J J._.mm . :
!
f~~ f J J J i J J 3 erE j E r Lf rfd F

~
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 3=i:j 1J J =~ !F~~~

53
jj ~ ±j; err 1• C t ('
rS~~
=J
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
3
i~" Ef AI rEg r f r r E• £==J J J J J JJ J- J~
~*8~~ IT E r-J EFFf E!' r r:r r r r j J J J fJ j ] j JJJ j

f9~~ iH 3 fJ J J iJ J J [ F(j r r r ref f &L-~ PI f;
f'~" f f r rf fEr E fEr err! [ ~ r f J j J JJ 3 J) J1
11
f':~ EEf; EEf; tEE f [ r t:J ~ [ r~' JJ J J_i JJ J1) I

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~-~~~~--=--=
~,,~gJfi~fJ j-J~gEfc !lPfd._~_
~~¥=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==,
_~12 E!-t--~~ § --..-----.--~.----~ ~~ J :r=~;::3

2 r fir~.f r· r F-_e±j - J
_____ . . f .---- : J ]-----===tl
0?~T=--=--=~E-t;=+==! iLLtEJ
.-. - · - - - - · - - · - - - - - - - - - - - - - 6 - - - _...: <
~~
L:
.~r- • • J J ~ hrJ J~ . - ~
~-=-- '3 EE r1= Err r ~:= OJ J ill J ~ j i~ J aiJ dJ. ~I##~,t
~ nJJ JJil 3J J j J J j f JJ J ~ J J j r r f:; F f rr #'##~,i
~. s r r E!- [ r L.i JJ~ JgJJ S Wn i JTfJJ11 #'##~,i W
-- ~ iJ~] -$I --~.. i
-4ffJ J j J .,L!L WW cr fJ t: F~ E: E2:t #I##J 6
=- I cIT [ _ 1 EE~ifti JJu] JIJ Jli #'b' 8
=~i"¥}itffn J 3tfit£J Mg fttrtg #Ib ~
L
f
J r [ rj J J JJ j J J j j J J J J J JJ j J J J #I~\~
. -~!;4] ~f .""""....
n c1 C I'
! !
r lC r gf [r EttL:_~
; sd - , ,
L
Chapter 6
G#-/H
,\#1 ; Jj lj J j J[r [ ~ [ · §fE Er r~~=m-p~r~A~f~~

,6#b f fer r t FE r r [1 r r F1 J 3lJ j J ~ ~ J
I.
-II
~. 2:: r [i - J j JfJ J ] d; J JJ J J J J JJ ) Jd@~ ##~,'
- c-f) JJJ Jill J J J J J ~ JJ j JCL-fJ L E fi Ej C f49
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
JJ j==J J [ r==t JEt rn rFEn f

-,j
Ii g,
. i
~ ~?
J J JJJt J UJ £ J JQ t r f ~ i~ 3 ffi b j J L r rY
~-r[ ~ _ l
-r r r[ r t r j J J Q J j J J4H J J§ J g :9~
-
.. ."
L
D-
t JJ J 3i J :J J JJ J J[c F; L F(-; c F[j F
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 .,
~" ; J J :J J J JJ E[ r FeE [i CE E! Ec Eef f f nE1

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

1
~ ......
v~
'-J
tJ
~...
tJ '-,
,
----t
v
tJ :fI" " !,
,
tJ
'"
tJ "
1\
tJ
D-jC-
E-jD- F- jb-
grid. Have each hexatonic 1 bar, 2 bars or 4 bars each.
ASCENDING GRID: D- jC-
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
D-jC- 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
9 A-jG- G-jF- D-jC
~'~~/~~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
TUNE 2 (CD TRACKS 5 f27 6) I C
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
F#- jE- G-jF- 'Hiili(

~Il 2
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.
G-jF- B~- j AD- F-jE~- A~-jG~-
&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
E~-jm- F#- jE- C#-jB- E-jD
£
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
B-jA- D-jC- A-jG- C-jB~-
&
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
TUNE 10 (CD TRACK 1S) I C
A~-jG~- B-jA- F#- jE- A-jG
~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
E~0 AP~9 q0 F#7~9
E-jD- G-jF- D-jC- F-jE~-
~
:7 :7 :7 :7 :7 :7 :7 :7 Z :7 :7 :7 :7 :7 :7 :7
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B0 E7~9 A0 D7~9
, C-jB~-
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
TUN E 1 (CD TRACKS 3 er 4) I B~
TUNE 2 (CD TRACKS 5 er 6) I B~
17 O-/B- n-/E- B-/A- E-/D
7 7/ Z 71
TT 77 7
T 71
TTZ rTTZ 7 7 rz TZL TTLZ 7 T
T 7Z77 .t'l ,7
7 7L7~..
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.
'- A-7 C::7 alt.
EO A7~9 DO G7~9
A~-jGb- b-jD,
'- p D9 Epb9
CO B,0
E-jD- B-jA- D-jC
'- q7~9
G~0 F#0 B7 b9
F0 B~7'9 E;:I0 A,7~9
C~0 F~7~9 B0 E7~9
D-jC- F-jEI>- C-jB,- b-jD,
A0 DT,9 GO C7,9
.-, I
TUNE 1 (CDTRACKS3eT4) I E~
TUNE 2 (CD TRACKS 5 eT 6) I El>
O-jB- F~- jE- B-jA
E7 A 7 sus D 7 sus
25 E-jD-
G 7 sus
D
E
E,
, B0 E7~9 A0 D7~9
'
GO C7,9 F0 B~7b9
'
Eb0 Ab7~9 C:!0 F~7~9
CO F7~9 B,0 Eb7~9
AbO D?7 b9 F~0 B 7 b9
EO A7~9 DO G7~9
CHAPTER 7
The next hexatonic is major over minor a whole step apa11,
EXAMPLE: B~jC-
BbjC-
You can see how this hexatonic is commonly used because the B, triad starts on the
7th of C minor and spells out the 7tll , 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
1
~ 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 •
G-C f r rEfiF}~ i J J~. J J J J J J c'1c:v, mmmmm
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_
~) kf [ C-f Er:rf=r=tff [ EJ t [ [;-f~"-r~r~f~···~~-

~5:~ j 113 OJ-B J1 J=1 J Jfif~~ J Jfc r rl-i] JJ- 0'_"
~5:~ eE(1 LE..; r r r: rGr; (-[ f J Lt bJ [~r; n
~5;~ ~l J J J J J J f J J ill f J J l j J J J [ r l f
~6;~ L rEf r f r; r Er1 L r f f [ [ l i r f r1

1-.
I~ ::g 8 [ r f [ E[1 r r r ~ fJ J J J JJ J fJ J) d J ~ J 9: '
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:, i J ] J i J ~ ] j JJ J f J J J CE r-J Err -; r
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
5
+= i3 ]J fJ j-~ j JJ J Err; E E[ ; r rIT o~ CEtf e;

"~h E i cr f IT [1 ErL r EE EJ r err i j Jj J JJ] £1
"- • ~J'-~ EJ'-fEc;el
'~h j J3 J f J J J L[ [1 CF [ tee dt t r ;;j
"~h EIT r r CE fj E Er f [ r E:i [ [ rJ JJ 3 J~~ J J J A I

~
Jj J J J J J i E J J-,; : H JJ J J JJ j il dg \?
£
4'.' ? CCj J J j JJ J j D:J Jf j J J f J J JC E r! 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
'~~~~~b lIT..! E r Pi [ r FJ r f U i ] J J J J J ] [J J~~;J.~

IT
'~b&~~& JJ 3JiJ JJ J JJJ E[ r-j' t [ ftC; r IT; Lf rf ff

9
- -
,._.................
-j~#~1 f] n ruler fit; j J J F fO U ri f!:./L
l I f-U
it b r[-(oJ r ~ fj ( FG E} tt J~J Jl E[ FJ fJ JQJ

I .....
LL
r~ ~ ~ ~
-EEEr[~ rf -J ~ j ~ J J J JJJJJ1JJJ if!
j J] J 3 Lr LJ Err T[ r rf FF r F[ F Ef #1:, ,?=
# Jj JJ . . . . . ..
,~# J JJ J J ] JJ i~~~~ (F ric [1

11 ~"F E E~fft~U
,'#11 Ct f f Cj r; L ~ E f [ r rJ [ ErJ j J J Ji JJJ tJ II

I.
I :... Er F j [ r r f J J j J j J J J J J J J j 4J J n J~ ~,'
fJ 14 J) iill J) J j ] J:fl J J~ r[; ErtlE r Ei #6'
[ J Cr [J J j JJ 1J J J J j J Jd J a] JJ J J J l] J a' #
t J fJ J5~JJ J J ; j J r E [ r JJ J 3 ( b[; cE ri-;
F J J ] J ~J a j J J 3 fa Ja fJ J1 J 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
~9 J J J J ~ J J J f L r r r Eri r [ EmEIT f& rEf f U

~'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-
B/C= E/F= A>/B~- A/B
B~/C-
Bb/C C/D-
ASCENDING GRID: B~/C-
Try playing 8 notes of any hex atonic melody using the notes of the grid as starting notes.
B~/C- A/B- A,/B~- G,/A,- E?/F- D~/E,- C/D
.1<:
T~
:J7
tJ e lfe [TO '-.~
1'1
,..
IT
7':
~
I'J.
II
........
U 'll
,..
......_.
n ...
U 17~ ....J '-~
,
7(
-T
<:.

....
tJ ~
"
B~/C- A/B- A,/B,- G/A
, fiDJ Jij~J IdJJD jtJ] I,jJd ]~!~ J] I f3 J]m~

EXAMPLE using different melodic phrases from each stalting note of the
BI>/C- A/B- A,/B,- G/A-
Also, try improvising using any rhythm but starting your phrase on notes of the
.- -,
Chapter 7
APPLICATIONS
Apply this hexatonic to any of the preceding tunes as well as tunes 13 and 14.
Hexatonic BbjC- (FjG-)
~{l Z 'T.. ? TrTZ rTL7 7 7 7 71

ZZ Z 2 'I
,77, 772 Z TTL , , , 'I
rZLL r"'T7 7Z77
Chord C - 7 Dorian
*,- ,
9 Ai1jB~-
' Z ,7T
B~-7
(E~jF-)
'I r'7T ,7'71

Dorian
rTTZ 7 rTZ //// rTZL
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
~.
TUNE 14 (CD TRACKS 19) I C
rlexatonic B/O- (F~/G~-)
~ 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
<] G/A- (D/E-)
A-7 Dorian
25 F/G- (C/D-)
G -7 Dorian
33 Et>/F- (B~/C-)
~ ~ , , ,--.L =z=.L..~ =z..:z.~

, , '--L 77
e L"F"
, [ ..L
. . . ' E...
, r7 r7 t m
-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
TUNE 13 (CD TRACK 18) I Bo
Hexatonic CjD- (GjA-)
Chord Dorian
9 B~jC- (FjG-)
C-7 Dorian
Dorian
25 G~jA~- (mjE,,-)
Dorian
33 EjF~ (BjG )
//<?J • . / /// I 2 TTZ ,T'.

7 7 7=::=
·~····77771
_, T 7 7
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
~. TUNE 13 (CD TRACK 18) I E~

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

s _ . L j Ad J f r [ r!~!r ~ j~ r
.. ,
~.6 C = E~r IE E t r~ f~ E 2 ErE 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
,2;~ -f j ~ 3i&J J5erE pIa ~ 3 r r*r Pc E rf 9p *(; r t

i IT f F; [1Ft; [F rj' (r CF jJ~JiJJJ ~J 11JO:
~ ~ ~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
,7 i ] J J J,J JJ E: r rp['f FFr [# c P(

# IT r ~~ ef f E~
#
~8 L( F; E#f #f; ErE ~ r#f [1 J J,; J [ r EJ £~ ,J #3 J

,9 J J J,3 iJ J J#[ 'f Fr [ r#rJ r Pc r LELS#E f FE cr
f t f fS [ LE; #r #( Er L #[; r t #r r J J j J#J J JJm
E
~" i JJ,J#J J J,JI'E [ fiE r#f T Lr#[± Eer!f f f f~ U

~""- f f#f#E ef #[ ef Prj [ f#r!! [IIF If JJ J,3 i#J
f E IT E -=1
#
J \ J# 3 J# f J J J en L [1 c Et ; L Ell [!p EF£1 ~,
DESCENDING GRID: B-jC-
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
,.,
-
B-jC- C-jC- C-jD- D-jE,
~ Er rtr IT r rT IE r rT~E#r rj IJj JJ~E#r ri IJ] JJ~er rI

B-jC- C-jC- C-jD- D-jE,
~ E~E f; J J J#J I Jd J J,:J#Ja J I c~ U~cr rf If r f/c'r"U

ASCENDING GRID: B- jC-
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting note".
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,
B-/C- B,-/B- A-/B,- A~-/A-
~ , ~ '~1 ~ ~.. :..

TLrJtt=~-=====jwJtt~tlB=t-@ .
EXAMPLE using diflerent melodic phrases from each starting note of the grid,
B-/C- B,- /B- A- /B,- A,- / A
t~ *~ I,D;g J }FJ.
J ill ~ JJ Aft] ;~ ~q g;J tiJd JJJ J 3 I k~~ ~ =t==;=
____'
..
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.
(G-/A,-) (F- /F~-)

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

B,- jB- B~- jB- (C-/D-) A,-jA- A,-jA- (B-/C-)
~
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B-7 E7 A-7 D7
,
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-. E,- f:- ~:-

(
/0-'
~I
B E
F-jFt- F- jF~- (A,-jA-) Eo-jE- Eo- jE- (F:- jG- \
E~O A,7',9 C~O F~7~9

~
C~- jD- (E- jF-) B-jC- B-jC- (D-jE~-\
E7~9 AO 07~9
B7- (C-jO-) G-jA,- G-jA>- (B~- jB- i
=1
GO C7v~ FO B~7t>9
TUNE 6 (CD TRACK 11) I B,
(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~-)
B[,7 Eb-7 A~7
(FIt-jG-) (E- jF-)
(D-jE>-) (C-jC-)
(B-jC- ) F~-jG- F~-jG- (A-jBb-)
07 G-7 C7
I B~
~
TUNE 9 (CD TRACK 14)
'"' E0 Ar 9 D0 G7~9
'"' C0 Fl,9 B~0 E,71>9
B,- /B- B,,- /B- (C-/D-) A,-/A- A,-/A- (B- /C-)
~j
'"' G#0 C~7~9 F~0 B 7,9
F0 B,7~9 H0 AP~9
Q0 B0 E7
D G C7
Chapter 8
TUNE 6 (CD TRACK 11) I Eb
(E-jF-) (D-jE~-)
(C-jC-) (B;,-jB-)
5 F#-jG- F~-jG- (A-jB,-) E-jF- E-jF- (G-jA,-)
G-7 (7 F-7 Bb7

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

A-jB,- A-jBo- (C- jD,-)
B~-7 Eb7
(C-jD-) (B-jC-)
(A-jB,-) (G- j A,

TUNE 9 (CD TRACK 14) I H ..,
'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=
A- /B> A- /B> (C- /m-) G- / A> G-/ AD (Bo- /B-)

,
r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 7
7
G0 C7~9 F0 BP~9
F-/G~- F-/G> (A~-/A-) E>-/E E>-/E (F#-/G-)

,
r7 r7 r7 r7 r7 r7 r7 r7 r7 r7 7
r 7
r r7 r7 r7 7
7
E~0 AP~9 C~0 F#7~9
'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
B~-/B- B,-/B (O-/D-) Al>-/A Al>-/A (B-/C-)
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
A~0 Dp?9 F~0 B7~9
9 F#-/G F~-/G- (A-/Bl>-) E-/F E-/F (G-/A?-)

,
r7 r7 r7 7
7
r7 r7 7
r 7
r r7 r7 r7 r7 Ir 7
r7 r7 7
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 j .. 3 £J J J j ] J J#r r rj cr~[f E t f f

• I 1 I I
J ~ I I l 11 J - .
r- J I
-I
.." -#11- .. • J 1 1
60
I: .:or..~: f rr [J E E 8# F j JJ J J JJ j [J JI 3 i j J J~:L'
. til til
=-:1']
= r - L • r r r#r Eer! E#r Ed ~~,
J ] iJ ] J J J ] J Ct -:t _. ~ lL
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
,5~~ J ) J;l j J~J J [ l ~ [ L Ctp [ Ltc fEE r f r

~
. . . ~. . . h Ef f ~ t t.f
~ ::t - - .-±
·. .• .J• rE =t iF".
1*.. r~T .,'J d-3-J
t ~ : tr E #~ ~ 3d
;:- 1~J
~~~ ~J j 3 gJ JJ: f§? 4]J J 3 r r'F fEE [t =fi'E f F

:: : F E f r fiE f J JI ] ] j JI J J j J J Jiq JJ 3 J~ JdJ ~~ !,'
~1 J~ 1il 9J\ J J J~ JJ) j J j JI J J j JI ErE;I r rg-t- ~~ ~,j
d [ r UI [ f [1 i JI J Ji J J) j il J~ J j il il 9ap il J~~!,j
JWJ j J J J J;ill il J j J ] J j JI J J E [ r rl cF f f E FEr 94~6t
F cl E[i Err ~ cl F Fr J J J j ~ J J ] fJ JJ J J JJ 94~ j
- -___
-J q ~ 8
J i Jj WI i J J J 4j JJ [ E Fj r cl rf [ FEr 4~~ j
3
- <
7
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
,
,9j~#.I ] Jm~iJ qJ J ~FI'r gr#f f~E ~L§" r f~PE dE E:~r\r#EftI

,'*##1 tErl~[#Erl(qE\(l dG~[; [rgrT~fJ Ja~?jJ J]dQ
11
- ~"".
~~ ~-~-=----
. ~ ..
I. .~
t,,---c-=-Lr= : -Z- J dJ Ij ~n j J JIIJ JJ 3d i JJ J J Jd 9 ~~tt
-+
-",* 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 _
,
~.. LFf ~r L t¥ 1: E f r! r E!r !' j J#3 12 2 3JJ
,\ fJ JJ#J 3d J cF f;#J J JJr [[!#E F f* f~[ [J r

8
, [i F; cF#[ r[ r :!F r r [ r j JJi3 • J.. J i ] J#3 j

##
r jIll~ r r F E!r
,## iJ ] Ji ] JJ#i JJ J [ Pr; r [ rJ E * to
9 ,
i oj i
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-
F~/E- C/B~- G/B

I'l
U *'-'
1'1
'-~
iU !
, i I
-----!..
I
fl
l' l'
,)
,
U
~.~
~
r-fl
D/C F/E~-
grid. Have each hexatonic be I bar, 2 bars or 4 bars each.
ASCENDING GRID: D jC-
DjC- OjB- CjB~- BjA- B,jA,- AjG- A,jG,- GjF- FtjE- Fjb- EjD- L'" C:
I'l
::K+--
tJ -e ~-e-
pu
"u
1
tJ
..
tJ '-:J
~ .....
i)V o
11
tJ -<R- 'LJ'
DjC- CjB~ BjA
kJd Jl.m JJ l_iB.~ Jlila] IJ].J aJJ 311 JiJ Jd J~ . ~ ..

DjC- CjB- BjA-
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.
(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-)
, E,-7 A77 C~-7 F~7
(GjF-) (FjEb-)
C:/B C:/B (EjD- ) B/A B/A CD jC-)
,
B-7 E7 A-7 D7
(E,jC=- ) (C:tjB-)
c
G F
9 B/A- B/A- (o/C-) A/G- A/G- (C/Bb-)
F#0 B7~9 EO A7~9
A,/F~- (B/A-) F~/E- F~/E- (A/G-)
A~7,9 C~0 F~7~9
5 o/C- (F /Eb-)
E A 07
9 C/B,,- (b/O-) Bi>/A,- Bb/ A>- (O/B-)
GO C7~9 F0 Bl]T,9
,I
Chapter 9
,if' Try using this hexatonic on tune 11 as it sounds the ~9, ,5 and 13 of the chords.
~c
The hexatonic from Chapter 8, "minor over minor a half apart," can also be played
in this context over a major 7,5 chord.
EXAMPLE: C-/O- PLAYED ON B7~5
(-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
A~-7 D~7 F~-7 B7

(CjB-) (BjA-)
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-)
q-7 F#7 B-7 E7

(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
AjG- AjG- (CjB~- ) GjF- GjF- (B~jA~-)
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
5 FjE~- FjE,- (A~jG~- ) E,jD,- E,jD,- (F~jE- )
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
9 C#jB- C#jB- (EjD- ) BjA- BjA- (D jC-1
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
TUNE 10 (CD TRACK 15) I S~
Bbj A~- (OjB-) A,jG~- (BjA-)
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.

(G/F-) ~
(E7/C=-)
5
(B/A-)
TUNE 7 (CD TRACK 12) I E7
(A>/F=-)
(E/D-) (D/C-)
A7jF:i- A~jn- (B/A-)
F::-7 B7
(C/B,-) (B,/A7-)

EjD- EjD- (GjF-) DjC- DjC- (FjE,-)
B0 E71>9 A0 D7,9
CjB,- CjB>- (bjC~-) B,j A~- B,j A,- (C~ jB-)
GO C7~9 F0 B,7,9
~~~~~~~~~~~~~~
..:
Chapter 9
;~~;
."'9;."
"£1£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.
J
See also the note on page 242.
CHAPTER 10
The next hexatonic is a two minor triads a tritone apart. It fits well over diminished
chords or dominant chords that are being played with diminished scales.
EXAMPLE: H-jC
FU-jC
~ r ~J ~r #3 J ~
For example, the hexatonics or E,-iA- can be played over a 0 diminished chord
or a C7 chord.
EXAMPLE
Eb-jA
/1..7 9 11 ,5 ,13 ,13 :13 /1..7 9 3 11
q07
F~- jC- Eb-jA

b9 '9 t11 5 13 13 ,7 :9 3 :11
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
!t
~2;b t t E!r #( t E~ #r r [~r #J J#E q3 d J#~ J a

27
l;~
~ ill J~1 J#J~mm
=I J J-d
#
J J J~r ftr ~r EJ ~ II" r
II
l';' E-r~; f=t4@:[jE r!~ J#4lw l~JJ j
~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
t;~ #f qr Err Pr! t+CJ [IE #[ /[ r"r r p[ r~:r~.===-~

~} JJ~JP fJqJP J J w;J~J1JJ J lID j J#J JdQJi3 Qr
=j #cqf Ftr r Fr* rpE~~ f [iW~~ Ff¥.[ Er!fE=[#jJ m
,5;" JJ J l#J tWU JJ J j -J J J#" ;l#] ;"j ~J [1p l r
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
5
'" .
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
_[;1[#[ rJ[~f r:;"r#f fir J mJI~J Jj mla J J

, J J JQJJ JJ ilJ J ; [IE rJ cr#f!r E r [j#t r f/tt
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-
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.
• - -
ASCENDING GRID: F=- C-
Try playing 8 notes of any hexatonic melody using the noll'- ,
F~-jC- F-jB- E-jB?- b-jA- O-jA,- O,-jG- C-jF=- b

[ II
~
----e---
~--
=n -
-
u
-
~
. -~ ...
i ~ -e -e- I-'~
I
..J. I
..L
~
ro~~
-::::z.n
~
i .. !
!
I i i
i
~ I
-LJ
.
r'\ 3:I~ <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.
F~- jC- F-jB- E-jB,- E,- jA
=-till3 J 3.1 rtJ 4¥1 ~fJ~lJ ~'9@=giJ·~ 3...- ~~0 :

m 5J MtiM ~ ~ r~r Fir dJd

H-jC- F-jB- E-jB1- E1-jA
~ d~ ~~
·JiJ Cb:: I I il I JM J;-F E m~·-
APPLICATIONS
c Try using hexatonic #10 on tune 8 (the dominant 7Th chords).
Hexatonic: A- jE~- (F~- jC-) D- j A~- (B- jF-'
Chord
.5 B- jF- (Ao- jD-)
9 A-jE~- (F~-jC-) B- jF- (A~- jD-)
C~- jG- (B~- jE-) B- jF- (Ab- jD-) A- jE~- (F~- jC
D~7 G7 C~7 Bt>~7
D- j A~- (B- jF-
21 c- jG- (B~- jE-) B- jF- (A~- jD-)
2S A-jb- (Ft-jC-) B-jF-
C Fait.
29 A- jEb- (Ft- jC-) A- jE~- (F~- jC

'"exatonic B- jF- (Ao- jD-) E-jB,- (C-
Chord ( F F B,7
E,- j A- ((- jF::-) O-jG- (B:>-jE-)
3 D-7 G7,9
E'6
9 B- jF- (A,- jD-) 0- jG- (Bo>- jE-)
F7 D-7 G7
13 b-jA- ((-jF~-) 0- jG- (B,- jE-) B- jF- (Ao- ~
A7 D-7 G7 (-7 F7
17 B- jF- (A,- jD-) E-jB,- (C- =
(-7 F7 Bn\ F-7 B~7
21 ((-jF~- ) 0- jG- (B~- jE-)
b6 EO AF9?13 D-7 G7~9
25 B-jF- (A?-jD-) O-jG
alt,
29 B- jF- (A~- jD-) B- /F
:1
..
,. ",''',''-
• • I< '" ~ ~
.
__
Hexaton,c F~- /C- (E~- / A-) B-/F- (A?-/D-
Chord
5 B~-/E- (G-/O-) A~- /D- (F-/B-)
9 F~- /C- (E~- / A-) A,-/D- (F-/B-)
13 B~-/E- (G-/O-) A;,- /D- (F-/B-) F#-/C- (E~- / A
B-7 E7 A-7 D7 G-7 C7
F~- /C- (Et>- / A-) B- /F- (A~- /D-'
G-7 C7 FIl C-7
21 B?-/E- (G-/O-) A~- /D- (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 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
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 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
.~ i j J~J J;3 J~J ( r E!f r F · ok b

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
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 :
(
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
B~-7 Dorian
17 A~-7 Dorian
E -7 Dorian
D-7 Dorian
@~~~~~~~~~~~~~I
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
TUNE 13 (CD TRACK 18) I B,
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
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.
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
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.
- --I
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 •
_ _ _. L . - _ ......I...

Jerry Bergonzi Vol 7 Hexatonics

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Jerry Bergonzi Vol 7 Hexatonics

Uploaded by

Copyright:

Available Formats

vol.

Die (D triad over C triad)

or it can be organized into scale format:

What follows are 16 different kinds of hexatonic scales:

(Hexatonics 11-16 are covered in Chapter 11)

~-=FJ J JJ# ~J J J-r-­.

r f F#r E#[ E f r r #r r j rr[t r F

C-~ J J J 3 J#3 JJ J J JJ JJ J ~ J J J' 2J

ifJ=.. E I I f' [~E. - c

f 7~;~ Ef Et lei rr r ; [it e; [ r rf IJ ~ J 3 r

~':~&~~& ~ 3J J n JJJiJ J J dE nr dr rj [ r r ff €Lrtf

~':a&~~~ f IT r~ t t f~ [ r rJi rgr; [---I....-:t

.~ :: .i ] J ~ ,f ],3 J EI J J E'e ~ r [ t tJ ErE if F

,~# ~-J O,l-mIO-] [rTfL=t=clf4I£; f rt:fi-

,\ € € 2ff lC~r Fetf_~-t--fJ,J JT~-~

l~~ t f (1 [ [ E;#F i PI Cr#fl Er [f J J mfJ J3m

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

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

F~jE GjF AbjGb AjG

, #c£ fu8*efr!t Ii jJ Jr rLc IbUPU '[ fe, IJ-"'I'-q ~ ~ ~ j] II

U -e- ft-e­ "-" -It"-"

ttl "-" "

, J] J#J iJ JJ I ~jJ #J.J f JIJ iJ I Pc rrJJ J JI #M J J ~iJ J J I

, ~iJ OJ jjd J I Pc f; J J n 1':~rtr~r~Cff I[ ru EE EO; II

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

TUNE 1 (CD TRACKS 3 e>" 4) I C

(7 sus B~7 sus F7 sus

TUNE 2 (CD TRACKS 5 e>" 6) I C

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

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

D/C C/B~ G/F

D 7 sus C7 sus G7 sus

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

/ / / / 1 //~77/d / / / / 1777 7[?Z 77 [ 7 7 7~

TUNE 3 (CD TRACK 7) I B~

A/G G/F Die

A7 sus G 7 sus D7 sus

TUNE 2 (CD TRACKS 5 eT 6) I Eb

I TUNE 3 (CD TRACK?) I E~

" j J J J g;J JEj J a J#i J J J cf f1 crIf r r

~¥U:aiif ij~Tr Y-f£f- r r_~-=-----=:=:=--­

; Er Ott [ r r :~ IT r j f J J#J ~ J l~# ~. J j

3JJJ#J~=r; r=r r fJdi4 =:j

; J J#J Jj J ~ J#E E F:r L_ j f r p[

,,49 r-- r I I ­ I I I I <'I

~51 {= J~J ] f J. J J iiJ J J #i j Jj CF r Fer r~ j

tt=-w-c- t Hr 5' E=f-#fg -[~r r r=t=tO=Ef=r-:f--··

-f JJJ;3 fJ Jgi J J¥i if J#J ] J-j J0.f Fi:f#fH"*@

tLlLttf [ C~-m rjC [jr; E [L{ef=t; r ==d

~f [1 t k E9~ EEb#Ef-Jr3":! [F; E9r Fj=F -j

• iq~}-ifi3=E [ Ei t m i rtr E .qj

"~b CEt! qj r P; q§ Erf 3[ FG' [3 JJJ J JiJ ) J J\3 f="J II

:t~~h' e€sS' q[ BEi EW [ [~EJ t t Er PE rJ F

~'#~ J 2J J jJJ J~ ~ J J JIe L rJ t rOE F#f r r

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

~ j rt r j J J1!J I Jd J J~J ~JwJ J IE t#[ Pc IT t rIrE [idr fif II

f jJ JJ~]]J I J:=~!JJJ~M I Dd J JJ j] I ~~"""~J~Jj]#Ij • ~ :1

~ ~ §f r ~J JJ I ~r 't F~r~; Ii #J die [ frE r' L~ I 'E E~[::f ~~I

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

TUNE 1 (CD TRACKS 3 e; 4) I C

TUNE 2 (CD TRACKS 5 e; 6) I C

17 B-jC E-jF D-jEl>

TUNE 1 (CD TRACKS 3 er 4) I Bo

'-­ (7 sus G 7 sus

~-=FJ J JJ# ~J J J-r-.

U -e- ft-e "-" -It"-"

~¥U:aiif ij~Tr Y-f£f- r r_~-=-----=:=:=--

,,49 r-- r I I I I I I <'I

'- (7 sus G 7 sus