INSIDE IMPROVISATION SERIES VOL. 7
HEXATONICS JERRY BERGONZI
JERRY BERGONZI
INSIDE IMPROVISATION SERIES VOL. 7
Hexatonics
TABLE OF CONTENTS
Hexatonics Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11
.......................................................6
D/C 9
B-IC B/C B+IC+ H/C D-ICBb/CB-ICD/C, H-ICOther Hexatonics D+IC+ DOICo B-IC+ Bb+IC BOICEb-/C Acknowledgments
CD CONTENTS TRACK
TITLE
01
Tuning Note A
Tuning Note Bb
Tune 1 (medium)
Tune 1 (fast)
Tune 2 (medium)
Tune 2 (fast)
Tune 3 (Latin)
Tune 4
Tune 5 (medium)
Tune 5 (fast)
Tune 6
Tune 7
Tune 8
Tune 9
Tune 10
Tune 11
Tune 12
Tune 13
Tune 14
02
03 04 05 06 07 08 09 10 11
12
13 14 15 16 17 18 19
DEMONSTRATION TRACKS
20 21
22 22 24
Hexatonic Hexatonic Hexatonic Hexatonic Hexatonic
1 on 3 on 4 on 6 on 8 on
tune tune tune tune tune
3 6 8 9 6
(chapter 1)
(chapter 3)
(chapter 4)
(chapter 6)
(chapter 8)
,
35
61
91
117
141
167
193
219
.247
271
271
273
275
277
279
281
289
Introduction
HEXATONICS Hexatonic scales are six note scales. One way to create a hexatonic scale is to combine the notes of two triads that don't have any common tones. These six note scales are a valuable and effective tool for improvising, for creating voicings, and for composing. Triads are incredibly strong sounding melodic devices. They are easy to think of and combining them is an accessible task for the soloist. Practicing hexatonics is great way to improve technique and it's also great for ear training. Hearing these different combinations of triads against different chords is a must for expanding your tonal pallet. Figuring out which triads lend particular colors to differ ent chords adds detail to your playing. Some hexatonics are consonant sounding against a chord type. For example, a D/C,hexatonic (combining a D triad with a C triad) has a very consonant sound when played over a C67#11 chord because all ofthe notes are in the chord. On the other hand, a B/C hexatonic will be more dissonant and cre ate a rub on that harmony because the m of the B triad is the ~9 of the C67 chord. Some of the hexatonics presented in this book sound quite exotic and require atten tion to get in your ear.
BjC
<
I
Many modem 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 try out all of these different sounds. If you liked checking out Pentatonics, you'll have fun with Hexatonics. Good Luck!
THE METHOD
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 C triad and a D triad and combine the notes C-E-G and D-H-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 C triad is because it is more consonant sounding than C triad over the D triad. When the C triad is voiced on top it creates minor ninth intervals which are dissonant. D triad over C triad can be written and played in any inversion, for example: .fi.
*
#§
i
sji
g#1l
or it can be organized into scale format: EXAMPLE
D triad C triad
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 D/C means: D triad over C triad. (Ordinarily, that symbol would mean a D triad over a C 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 for the triads involved was not always
an easy task. So, when the same hexatonic in one place is referred to as "G#-/FP-" and in
another as 'Ab-/Gb-" it is because of the context in which they occur.
~ I
Introduction What follows are 16 different kinds of hexatonic scales: 1.
DjC major over major a whole step apart
2.
B-jC minor over major a half step apart
3. BjC major over major a half step apart 4. B+jC+ augmented over augmented a half step apart 5. F"jC major over major a tritone apart
6. D-jC minor over minor a whole step apart 7. BbjC major over minor a whole step apart 8. B-jC minor over minor a half step apart
9. DjC major over minor a whole step apart 10.
11.
F#-jC minor over minor a tritone apart
D+jC+ augmented over augmented a whole step apart
12. DO JCO
diminished over diminished a whole step apart 13. B-jC+
minor over augmented a half step apart 14. Bb+jC augmented over major a whole step apart 15. BOjC
diminished over minor a half step apart 16. Eb-jC minor over major a minor third apart
(Hexatonics 11-16 are covered in Chapter 11)
CHAPTER 1
We will first 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 CI'17, C7, BP1'17#5, D7sus, A-7, F#7 altered, F#0, 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.
Chapter 1
Die
"
,3
~~
~~~~
,5 ~
j~~ ~~
1,9~~~ ~~
," ~~
10
Chapter 1
Die
Chapter 1
Die
f ~~~~
,2
7
-I-----
Chapter
~
Die
43
'.Ii~~~~
• •
...
.
.
;:.
• •
i
• • • •
:
Chapter 1
Die
,49~#~
~~-~
,5'~~
g~~~
f~#~
f -
f ~
f ~
Chapt
Die
Chapter 1
Die
"
.OO¥~
,3 ~
,5 ~
t ~I
,9~1
=1 ~
Chapter
~
GIF
1
~~~~
it. ff F~~
-
-. t;.~
~
--; --;.
-;.
.<;.
:-:~
.t$
•
J..
-"
-
.
~~
~-~~
-
~
-
~.~ -#.~
~~:.~p.
. .: : - f * - - ·
,.---
c'hapter 1 C/Bb
-
,'~.
,2~.~~~
,3~b ,4~b ,5~b
,6~b
t~b ,8~b ,9~b
"~b & ) t.
,)~~
I
I
I
I
I
g
Chapter
~
FIB
£'~b~~
lI.'b~~
..
Chapter 1
Bh/A&
Chapter i
Eh/Db
~t;...~.',~ ~
~f~,,~
~.'.'.
-
:==:Q======== ...---~
Chapter 1
Ab/Gb
22
-- --
Chapter 1
CUB
C. pter 1
HIE
,'II ~~~ ~ ~~~ ,3##1 1
441#11~~~
~11~r~
~f~E~ ~ril t..
~8~~
?l~:':-
1i":::: ' - - - _
(~r::~£:~,:.F~tr~~
Chapter 1
B/A
30--,,_-:~~
..
~~I~~~
Chapter 1
EID
,'##
,2##
~ ,4##
j
,\~~
",\~~
'#11
",\ ,9## ,'#11
,'##~
"~II
~:::::::::::::::. ~
Chapter 1
AlG
Chapter 1
DESCENDING GRID: DIC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. DjC
E~jD~
FjE~
EjD
F~jE
GjF
A~jG~
AjG
B~jA~
BjA
CjB~
qjB
f+UI
, f+UI
t
, fT
t
)
)
, tJ EXAMPLE
E~jD~
D jC
EXAMPLE
DjC
F~jE
using the same melodic phrase from each starting note of the grid. FjE~
EjD
using different melodic phrases from each starting note of the grid. E~jD~
GjF
FjE~
EjD
A~jG~
AjG
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.
:s
Chapter 1
ASCENDING GRID: DIC Try playing 8 notes of any hexatomc melody using the notes of the grid as starting notes.
D/e
C#/B
-e
~-e-
e/B~
B/A
B~/A~
A/G
A~/G~
G/F
F#/E
F/E~
E/D
1
t.)
'U'
f/'U'
1
tJ
1 'U'
tJ
lJ
1
-e
tJ
1
tJ
f/'U'
'U'
EXAMPLE
, ,
D/e
C#/B
EXAMPLE
D/e
~_: ~.
using the same melodic phrase from each starting note of the grid. e/B~
B/A
using different melodic phrases from each starting note of the grid.
C#/B
e/B~
B/A
try improvising using any rhythm but starting your phrase on the notes of the H Yf each hexatonic be 1 bar, 2 bars or 4 bars each.
'U'
E~/D~
Chapter 1 APPLICATIONS
Try using this hexatonic on tunes I, 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 Die hexa tonic on a D7 chord, the fifth of the e triad, which is "G", is the natural 11 of the 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 eT 4) I C
, , ,
HexatonlC
,
7
B
5
9
FjU 2
7
2
,
7
7
7
2
2
7
7
7
2
7
7
7
7
7
7
7
2
7
2
7
7
2
7
7
FjU
BbjAb 7
/
7
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
7
2
2
7
2
7
7
7
F7 sus
Bb7 sus
FjU
BbjAb
CjBb 2
2
F7 sus
Chord
2
7
7
2
7
2
7
2
7
I
2
7
7
7
7
;,
7
7
2
Z
7
2
7
2
7
2
7
2
7
7
7
7
7
F7 sus
Bb7 sus
C7 sus
7
~
TUNE 2 (CD TRACKS 5 eT 6) I C
BbjAb /
/
/
/
1~7~7~7~7~7~;'~7~7~1~7~7~7~7~7~7~/~~1~/~~7~7~7~7~7~7~ ~~7~7§7~7~7~7~7~7~~7~7~7~'~~7~7~7~7~1
/
/
/
/
I / / / / II
Bb7 sus
, 9
17
BbjAb
77,,1
TrrT
2
7777
rTZ
7
7
7
7
7
7
7
Z
7
Z
7
7 T 7 r 7 r 71 7 7 r2 7 711 r ,,2 :
Bb7 sus
DjC
GjF
~'~~~7~7~7~7~7~1~7~1~~~7~7~7~1~~7~7~7~7~1//// r r T Z 7
D7
25
7
7
7
7
G7
FjU
CjBb ,
,
7
77771
7
rTTZ
C7 SUS
7777~
F7 SUS
BbjAb
~'~~~7~7~7~7~7~7~7~1~~~7~7~7~1~~7~7~7~7~ Bb7 SUS
7
/
/
/
/
Z
Z
Z
z z z z
7
7
Z
Z
LLZZ
rTTT
2
7777( TTZ
Chapter 1 TUNE 3 (CD TRACK 7) I C
,
ejB~
BjA
,
,
7
7
B
,
z7
7
2
,
Z
7
7
7
2
Z
E-6 9
&,
z
7
7
/
,z
7
7
7
7
2
7
7
7
I
Z
z
D7 a lt
ejB~
GjF
G-7
7
2
,
Z
7
7
7
/
2
/
2
7
7
7
B~jAb
A-7
/
7
E7alt.
Dje
*'
,
7
2
7
/
7
z
7
7
7
Z
7
7
2
Z
7
Z
B7a lt
7
7
,
7
,
7
2
7
7
7
7
Z
7
7
7
7
2
Z
2
7
z
7
7
7
7
~
Chapter 1 TUNE 2 (CD TRACKS 5 e,- 6) I B~ CjB~ 777
,
7
7
,
,
777
7
7
7
7
7
7
7
7
7
7
7
7
7
~
7
7
7
7
~
C7 sus
9
CjB~
f
C7 sus
17
EjD
,
,
,
7
7
7
7
,
7
,
,
7
7
,
,
,
AjG
,
,
,
I
7
I
7
7
7
7
7
7
I
7
7
I
,
,
,
,
,
7
,
,
7
7
7
7
,
,
GjF
DjC
A7
25
7
,
,
7
7
777
D7 sus
7
G7 sus
CjB~ 7
7
7
,
7
,
,
7
,
,
,
7
7
"
,
,
7
"
7 7 ~ r7 r7r Z
C7 sus
TUNE 3
(CD TRACK 7)
DjC
qjB
f 5
f
B
7
7
7
7
7
7
7
7
7
7
/
7
2
7
7
7
7
F#-6 9
7
7
7
7
2
7
7
7
7
7
7
7
2
7
7
7
I
7
7
E7 alt.
9
DjC
AjG
f
7
A-7
7
2
7
7
7
7
7
7
7
7
7
2
7
CjB~
B-7
7
2
FFalt.
EjD 7
I B~
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
CFalt.
2
7
7
7
7
Z
7
7
7
7
7
7
7
7
7
7
7
Z
7
7
Z
Z
7
7
7
2
7
7
~
Chapter I TUNE1 (CD TRACKS 3 eT 4) I H
D jC
Hexatonic
til ~
,
,
7
7
2
7
2
*'
2
7
2
7
7
7
7
2
7
2
7
2
7
Z
7
7
7
2
7
7
7
7
7
I
2
7
2
7
7
7
7
7
7
7
7
2
7
7
7
2
7
7
7
7
7
7
7
7
7
/
7
7
7
7
D7 sus
G7 sus
7
7
DjC
GjF
AjG t.-
7
D7 sus
Chord
j
Z
DjC
GjF 2
7
/
2
7
2
7
2
7
2
7
7
7
2
G 7 sus
A7 sus
7
2
7
7
7
7
7
2
7
/
7
7
7
~
7
D7 sus
TUNE 2 (CD TRACKS 5 eT 6) I H
GjF 7
" "7,,
7
7
7
7
7
7
7
7
7
7
7
~
7
7
7
7
~
G7 sus
GjF 7 ~
7
7
7
7
7
,
7
7
,
7
7
-
~
7
7
,
7
7
AjG
EjD Z
7
7
2
7
2
7
2
7
2
7
Z
7
2
I
2
7
2
7
Z
7
7
I
7
7
2
7
7
7
E7
5
7
7
7
7
7
7 sus
3 IA 7
,
z
7
7
2
DjC 7
2
7
/
2
7
7
7
2
I
7
7
A7 sus
2
I
7
7
2
7
2
7
2
7
2
7
7
7
2
7
07 sus
~
IF 7 ~
7
7
7
7
Z
2
I
2
Z
2
Z
7
7
7
Z
2
I
2
I
2
Z
Z
I
7
Z
7
7
2
7
7
7
2
I
2
7
/
7
7
2
7
7
I
2
I
2
Z
2
I
7
7
2
7
7
Z
7
Z
7
Z
7
Z
~
Chapter 1 TUNE 3 (CD TRACK 7) I Eb
,
e
5
~
, 9
AjG
G#jF# 2
7
2
7
2
7
2
7
7
7
2
7
2
7
2
7
I
q_6 9
7
7
7
7
2
7
2
7
,7
/
7
7
2
7
I
7
7
B7alt.
AjG
EjD
7
E-7
7
2
7
2
7
2
7
7
7
2
7
7
7
GjF
F#-7
2
7
q7 alt.
BjA 2
2
2
7
7
7
2
7
2
7
/
2
7
2
7
7
7
G#Jalt.
2
2
7
7
2
2
7
7
2
7
7
7
2
7
7
7
2
Z
7
7
2
2
7
7
2
7
7
7
~
Chapter 2 CHAPTER 2
The next hexatonic to consider is the very 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 ~ 11. EXAMPLE:
B-jC
B-jC
#§
B-/C can be played over the following chords:
Ci17, A-7, H0, D7, D7sus4, Gi17sus4 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.
Chapter 2
_
B-/C
~'
mr~
,3
~W~~
~5
~
I
,7~~
I
~~
I
,9 I
~~
I
," ~~
~
.
~
-
B-/C
_ _ _ _ _----=chapter 2
Chapter 2
B-/C
Chapter 2
B-/C
Chapter 2
B-/C
,49~#~
~~~ ,51~~
~8=ij~~
f~jloo==em ~
f -
f ~
f~=: ~--"
Chapter 2
B-/C
1
.~
~ .~ $···~~-I
~ • J~ ~
-
...;
Chapter 2
B-/C
~'
ffiRr~ ~3
~~
I
I
" -"
.
J
Chapter 2 E-/F
1
,~~ ,2~~~
$3~~~
i,~~
~:'~~
~,~~
p----
Chapter 2
A-/Bb
,'~' ,2~b~~~
,\.
,4~.
,5~.
,6~.
,~.
,8~.
,9~.
,';. "~I!l':·~~~1
Chapter 2
D-/Eb
Chapter 2
G-/Ab
Chapter 2 C-/D&
Lt.
6 - ' , ' ,
Chapter 2 F-/Gb
~
~
(
Chapter 2
Bb-/B
~
Chapter 2
Eb-/E
I
I
I
I
I
I
_I
I
I
I
!
il
T
G#-/A
Chapter 2 C~-/D
_ _ _ _ _~Chapter 2 F#-/G
7
k 1;'~' ~
9
Ciapter 2
DESCENDING GRID: B-jC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. B-jC
C-jq
D-jE~
q-jD
E~-jE
E-jF
F-jF#
F#-jG
G-jA~
A~-jA
A- jB~
B~- jB
,., V
~
4J
!+v
I
U
II
I
U
"
fT
II
II ~
"
fJ
4J
B-jC
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.
C-jq
q-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.
Chapter 2
ASCENDING GRID: B-jC Try playing 8 notes of any hexatorllc melody using the notes of the grid as starting notes.
B-jC
B~-jB
A-jB~
G#-jA
G-jA~
F#-jG
F-jG~
E-jF
O#-jE
O-jE~
(#-jO
1\
t.!
-e-
v'U'
'U'
+t'U'
t.!
1'\
~
~
f.J
" ~
l.I
". '-"
~,
'U'
". d
'U'
EXAMPLE
'3-jC
+t'U'
using the same melodic phrase from each starting note of the grid. B~-jB
A-jB~
G#-jA
=6 EXAMPLE
=-/C
using different melodic phrases from each starting note of the grid. Bl>-jB
A-jB~
G#-jA
=t;
_ _-L.So. try improvising using any rhythm but starting your phrase on the notes of the ..:::rid Have each hexatonic be 1 bar, 2 bars or 4 bars each.
C-jN
APPLICATIONS
Try using this hexatorllc on tunes I! 2 and 4 as follows.
TUNE1 (CD TRACKS 3 er 4) I C
'll / , ,
D- j Eb
Hexatomc
7
7
7
2
7
7
7
2
7
2
7
7
7
7
7
2
7
7
7
2
7
7
7
7
7
Z
7
7
2
I
A-jBb 2
7
7
2
7
7
2
7
2
7
2
7
7
2
7
2
7
7
7
7
7
7
Z
7
7
7
2
7
2
7
7
7
F7 sus
Bb7 SUS
9
7
D-jEb
G-jAb Z
7
F7 sus
Chord
5
7
D-jEb
G-jAb 7
7
7
2
7
7
(7s us
7
2
7
7
7
2
7
2
Bb7 sus
7
2
7
2
7
2
7
2
7
7
7
2
7
2
~
7
F7 sus
TUNE 2 (CD TRACKS 5 er 6) I C
G-jAb 7
7
7
7
7
7
7
Z
7
Z
Z
Z
7
7
Z
7
Bb7 SUS
, , , 9
17
25
G-jAb ,
7
,
Z
7
7
7
,
7
,
,
7
7
7
7
7
7
7
7
Z
7
7
7
7
~
BPsus B-j( 7
7
2
E-jF
, , , 2
7
2
7
2
7
7
7
2
7
I
2
A-jBb
, , , 7
2
2
7
7
,
2
7
2
, , 2
G7
D7
I
7
D-jEb
, , , 2 2
2
7
7
, 2, 2,
7
7
(7 sus
2
, , 2
2
7
2
,
2
7
2
7
2
7
7
7
F7 sus
G-jAb 2
, , , 2
2
BP sus
Z
7
7
7
7
7
2
7
2
7
2
, , , 2 2
7
7
7
,
2
7
2
, , 2
2
7
2
7
7
7
7
7
7
7
2
7
2
7
Z
7
7
,
2
7
2
, , 2
2
7
2
7
7
7
7
7
~
Chapter 2 TUNE 4 (CD TRACK 8) I C Hexatonic
D-jE~
B-jC "
,
,
,
z
"7,,
7
7
7
7
7
7
7
7
7
7
,
,
,
7
"
7
7
7
7
C-jF
A-jD
9
7
D-jE~
B-jC ,.
7
,
7
,.
,.
,
7
1117
TTTT
7777
rTTZ
A-jD
C-jF
C-jD~
E~-jE
7
777
7
7
Z
7
~'&~~Z~7~Z~7~Z~7~Z~7~~~Z~7§Z~'~~Z~'~7~7~ ~7~7~7~7§7~'~~7~7~~~7~'~7~7~7~'~7~'~ ~7~7~7~7§7~'~~7~7~~~7~'~7~'~~7~7~7~7~ ~7~7~7~7~7~7~7~7~~~Z~7§Z~'~~7~Z~7~7~
B~-jE~
B-jC
D~-
D-jH 7
A-jD
C-jF
777
7
Z
Z
Z
Z
Z
7
zfl
TTTZIJ
Chapter 2 TUNE 2 (CD TRACKS 5 ro 6) I Bb
A-jBb
~!H~7~7 r r ,7~7~"~'h~/ r 7
~
7
,
~7~7~7~7
-=r7
7
7
7
'~'-=Z=Z77~7 =::Z:::;,'~'B
=z=77
,
7
7
r r r r ~ ~ r r rrrr~r, ~rr~rrlJ
(7 sus
9
~ 17
~ 25
~
A-jBb
,
2
7
7
7
7
7
7
7
7
7
7
7
7
7
,
7
Z
7
7
,
7
,
7
/
7
Z
7
7
7
?j ,
7
7
7
q-jO 7
,
7
2
7
7
7
7
7
7
2
7
2
7
7
7
I
7
7
7
7
7
7
7
,,
7
7
7
7
7
2
7
7
A7
7
7
7
7
7
7
7
7
7
2
7
,
2
7
,
7
,
7
7
7
7
7
7
7
,
,
7
~
E-jF 7
,
7
7
,,
7
7
7
7
7
7
7
7
7
7
7
,
7
7
7
7
,, 7
7
7
7
G7sus
07 sus
~
A-jBb 7
7
7
7
7
7
7
7
7
7
7
,
2
7
7
7
,
7
7
7
7
7
2
7
7
7
7
7
777
7
7 T T7 T7Z7~
(7 sus
I B~
E-jF
q-jO ,.
7
,
,.
,.
777
7
,.
7
,.
,.
7
,.
7
,
7
7
7
7
,.
7
7
7
,
7
7
7
B-jE
O-jG
O-jEb
F- jF# ,.
7
7
7
,.
7
"
7
,7///
7
7
(-jF
Eb
q-jO
E-jF ,.
B-jE
,.
,.
7
,.
,
7
,
,.
,
,.
7
E-jF
q-jO 7
7
O-jG
B-jE
25
7
7
B-j(
F#-jG
E7
Hexatonic
~
7
(7 sus
TUNE 4 (CD TRACK 8)
9
2
,.
7
,.
7
,.
Z
Z
,.
7
O-jG
7
7
7
,.
7
7
777
Z
7
Z
,.
,.
7
,
777
7
7
Z
,.
,
7
Z
7
7
Z
,.
7
7
,
Zt)
rrr'tI
Chapter 2 TUNE 1 (CD TRACKS 3 e>- 4) I Eb
, , ,
Hexatonic
B
I
7
7
7
2
7
J
7
J
7
7
2
7
7
2
7
7
E-jF J
Z
7
7
7
2
7
7
7
7
7
2
7
J
7
7
B-jC 2
7
7
7
7
7
7
7
2
7
2
7
Z
7
I
7
7
7
Z
7
7
7
7
7
2
7
7
7
7
7
B-jC
E-jF
F#-jG 7
Z
D7 sus
G 7 sus
7
7
D7 sus
Chord
j
Eb
B-jC
2
7
7
7
2
7
7
7
7
7
2
7
2
7
I
G 7 sus
A7 sus
Z
7
Z
7
2
7
2
7
7
7
2
7
7
D7 sus
TUNE 2
(CD
TRACKS
5 e>- 6)
7
2
7
~
IH
E-jF ,
,
,
7
L
,
,
7
7
7
7
7
.,
777
7
7
,
,.
G 7 sus E-jF 777
7
7
7
,
,
7
7
7
7
7
7
7
7
7
7
7
7
,
Z
7
,
,.
"
,I
Z
G 7 sus
B-jC ,
7
7
,
7
A7 sus
E7
B7
7
7
,
D7 sus
E-jF ,
,
G 7 su s
Z
,
,
Z
,
,
Z
777
Z
7
Z
7
7
777
7 7 Z 7 B rrrzEi
Chapter 2 TUNE 4
(CD
TRACK
Hexatonic
I E~
8)
B-jC ,
,
,
,
7
,
,
7
777
7
777
Z
,
,
,
7
7
7
7
7
A-jD
,
B-jC
9
25
7
,
I"
7
7
7
,
7
"
7
,
7
7
7
7
7
7
,
7
"
7
7
Z
Z
A-jD
G#-jA
~';~~7~7~7~7~~7~Z~7~7~~~7~r~7~'~7~'~~7~7~~~7~7~7~'~7~'~~7~'~~~7~'~7~'~7~'~~7~7~ F#-jB
777
7
B-jC ,
/
/
A-jD
/
/
,
,
7
,
,
TZ
,
zf)
TZ
EI
Chapter 3 CHAPTER
3
The third hexatonic we will investigate is major over major a half step apart. When the B triad is voiced over the C triad, major 7th intervals are sounded. If you invert these triads and voice the C triad on top of the B triad, minor 9 th intervals are sounded. In some instances you might want the more dissonant sound of minor 9 th s. EXAMPLE
SIC
J
<
B/C creates major 7th intervals between the C and B, the G and H and the E and
m.
CIS
J
C/B creates minor 9 th intervals between the D# and E, the H and G and the Band C. This major over major hexatonic can fit over many chords. For example, it can be played on C!:J.7, A-7, D7, F0, B7b9, Eb7 or E-7.
Chapter 3
BIC
~'
I~~ ~3
~~~~ ~5
~
'~~
,
~~
~~ ~"
~fF~I~~
_ _ _ _ _ Chapter 3
BIC
6*J~~~~
-~.s·f~~~~~
Chapter 3
B/C
,2
5
~I~~~
,2
7
~
f ~~ ~3'
~~
f~~~~ ~~~~
&35~
~:
Chapter 3
B/C
Chapter 3
B/C
I
f#
f
I
I
~58#~
!
f· ,60.~_ ~
--. ::!
Chapter 3
B/C
-
if .~
Ii ~
Chapter 3
B/C
"
l~~
,3
I
I
Chapter 3
ElF
Chapter 3 A/Eb
I
I
I
I
I
I
Chapter 3
D/H
C npter 3
G/Ab
Chapter 3
C/D&
Chapter 3
F/Gb
~
~
~
I
I
-'
- -'
--"
-
. "
I
Chapter 3 Bh/B
Chap ter-=-3- - - - -
HIE
I
I
I
=1
I
II
Chapter 3 Ab/A
~'~~#~~~
~2~##~~~
Chapter 3
CUD
I
I
I
I
I --: --: --:
I
r-
I-....-
Chapter 3
FUG
1
,#~
2
'#~#eDr~
f{#~~
,4#~
~5#~
~6i~~
7
,i~
~
-
-~:~
'J
,
•
,-
I
1
~
1
If.
Chapter 3
DESCENDING GRID: BjC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. B/C
C/C#
q/D
D/Eb
Eb/E
F/F#
E/F
"
)
F#/G
G/Ab
Ab/A
A/Bb
Bb/B
"
1 l+~
~J
, tJ
I
v~
)
1
tJ
1
tJ EXAMPLE
B/C
C/q
EXAMPLE
B/C
using the same melodic phrase from each starting note of the grid. q/D
D/Eb
using different melodic phrases from each starting note of the grid.
C/q
q/D
D/Eb
Also, try improvising using any rhythm but stal1ing your phrase on the notes of the grid. Have each hexatonic be 1 bar,2 bars or 4 bars each.
Chapter 3
ASCENDING GRID: BjC Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
,
BjC
BbjB
t
-e
'U'
AjBb
AbjA
GjAb
FjG~
EjF
EbjE
OjE~
ObjO
'U'
, t
1
"
t
,., 0
I
T'
, 'U'
t
, t-
f+'U'
f+'U'
EXAMPLE
BjC
EXAMPLE
BjC
using the same melodic phrase from each starting note of the grid. BbjB
AjBb
AbjA
using different melodic phrases from each starting note of the grid. BbjB
AjBb
AbjA
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
'U'
CjOb
::hapter 3 APPLICATIONS
TUN E 5 (CD TRACKS 9 er 10) I C
'0 . exatonic
(jDb
Chord
7
,
2
7
2
7
2
7
2
2
7
7
7
7
7
7
7
2
(7 b9
G0
z
7
7
7
2
7
7
7
2
7
7
7
7
Z
7
2
7
7
7
7
7
7
7
2
7
2
7
(7 b9
G0
7
Z
2
7
7
7
7
7
7
7
7
7
9
2
7
2
7
7
7
2
7
7
2
7
2
7
2
7
7
7
2
7
7
7
2
7
7
7
13
DjEb
DjEb
AjBb
~'~/~7~7~/~/~~/~/~~/~/~I~/~/~~/~/~~/~/~~/~/~
21
25
(-7
F7
FjGb
FjGb
EjF
EjF
Eb-7
Ab7
D-7
G7
Bb~
(jDb 7
7
2
7
z
2
7
2
z
7
2
7
7
7
z
2
7
2
7
z
2
7
2
z
::9
~f~6~~7~Z~~~7~Z~~~/~~~7~Z~~I~7~Z~~~7~Z~~7~'~~~7~7~~~7~7~~~7~Z~~7~Z~~~7~7~~I~7~Z~~~/~~~7~Z~~~7~Z~~~ This hexatonic when played over a minor 7b5 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 q9 and the ~9 as well as the Uland the 3 rd . Like a blues scale, in the wrong hands this could be devastating!
,
TUNE 6 (PROGRESSION 1) (CD TRACK 11) I C
EjF
@e
2
7
2
7
7
7
7
7
7
D-7
, 9
7
7
7
7
7
7
2
7
7
I
7
7
7
7
,
7
7
7
7
7
7
7
7
7
,
7
7
,
7
2
7
I
,
7
7
7
7
7
7
2
7
I
2
,
7
Eb?
Ab-7
Db?
G#jA
X
F#jG
X
,
,
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
E-7
B7
F#-7
7
7
2
7
7
7
X
Bb-7
@ ,,
7
F7
BbjB
X 2
X
(-7
G7
(jDb 2
DjEb
X
7
7
7
2
7
7
.,7
7
7
7
~
7
A7
TUNE 7 (PROGRESSION 2) (CD TRACK 12) I C
~
e
7
,
7
7
7
7
2
¥) t
7
2
7
7
Z
2
Z
2
Z
E7
AjBb
X
z
G-7
7
2
7
7
7
2
z
,z
2
z
2
z
(7
2
I
X
7
7
7
2
7
2
7
2
q-7
2
7
7
z
2
,
7
Z
2
2
7
7
I
2
7
2
7
7
7
2
Z
7
Z
D7
GjAb
X
7
F-7
7
7
2
,
7
7
X
A-7
2
7
F#7
Bj(
X
B-7
7
,
7
Ab?
qjD
0;
,
7
Eb-7
£,
EbjE
X
FjGb
,Z
2
Z
7
Z
2
Z
Bb?
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.
7
2
Z
Z
7
2
Z
7
2
2
7
Z
II
Chapter 3 Try progressions 1 and 2 with this hexatonic, too. TUNE 6 (CD TRACK 11)
, , ,
EbjE
e
Z
7
7
,
7
7
7
DbjD
,
7
7
I
D-7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
7
,z
I
Bb-7
7
Z
7
7
7
7
7
7
7
Z
7
7
7
Z
7
I
Ab-7
7
7
7
2
7
7
,
Z
7
7
Z
Z
7
7
7
7
Z
Z
Z
7
7
7
7
7
E-7
TUNE 7 (CD TRACK 12)
7
7
7
7
7
I
Eb-7
~
,
Z
7
7
7
7
Z
Z
Z
7
Z
Z
7
7
7
7
7
z
Z
7
,
Z
I
B-7
7
7
G-7
z
7
Z
7
7
7
I
7
7
C7
7
7
7
7
7
7
7
7
7
~
7
7
7
7
7
Z
7
Z
FF
7
7
7
7
7
Z
7
7
7
7
7
Z
7
z
I
A-7
Z
7
Z
7
7
7
7
Z
D7 GbjG
AbjA z7
7
BbjB
E7
9
7
7
I
Cjq Z
Z
I(
q-7
Ab?
5
7
DjEb
,z
7
7
A7
EjF
e ,z
7
FjF#
B7
F#-7
7
7
Db?
GjAb 7
7
AjBb
Eb?
9
,
7
F7
BjC 2
7
I
(-7
G7
5
,
I(
7
7
Z
7
7
7
7
7
F-7
Z
7
7
7
7
7
I
7
7
,
Z
2
Z
7
7
Bb?
When played on a dominant chord, this hexatonic sounds the U3 and ~13, as well as the ~9 and #9. Try anticipating the dominant chord by playing the hexatonic on the preceding minor 7 chord. This is meant to be a particular sound and, of course, over using it would be comparable to over-spiced food. For the minor 7th chords you may either use the hexatonics given on the previous page or play any "regular" scale.
~
Chapter 3 TUNE 5
,,,
/
Chord
7
7
7
7
7
£
7
2
7
7
7
2
7
7
7
7
7
7
Z
7
7
7
7
2
7
7
7
EjF 7
z
2
7
7
7
7
2
7
7
7
2
7
7
7
7
7
7
7
Z
7
7
2
Z
7
7
7
7
2
7
7
7
Z
7
7
7
Z
7
7
2
7
F-7
7
7
7
2
7
7
7
7
Z
7
7
7
D7~9
A0
EjF
BjC
2
7
2
7
Z
7
7
2
I
Z
7
7
7
7
7
7
7
7
7
7
D7~9
7
2
7
2
7
7
7
7
7
7
7
Z
7
D7~9
7
7
2
7
2
7
2
7
7
2
Z
7
~
7
7
D7~9
A0
7
7
Z
7
7
Z
2
7
2
7
2
7
Z
7
D7~9
/
2
7
2
7
7
7
7
7
7
7
7
~
7
C~
GjA~ 7
7
A0
G7
GjA~ 2
7
7
7
D-7
&
7
D7~9
A0
£
7
D7~9
A0
Z
7
A0
A0
~
I B~
9 e>' 10)
A0
*
2
TRACKS
D jE~
Hexatonic
2
(CD
F#jG 7
7
7
7
2
Z
2
Z
7
7
7
7
7
7
F#jG
E-7
BP
7
7
2
7
Z
7
2
7
~
A7
DjH
1?-7 7
t.
7
7
7
7
tjj
7
7
7
7
7
7
7
7
D7~9
A0
7
7
2
7
7
7
2
Z
7
7
7
7
2
7
2
D7~9
A0
.
£
7
z
A0
2
7
2
7
7
7
7
7
D7~9
7
7
7
7
2
7
7
7
A0
Z
7
7
7
7
7
Z
2
7
D7 b9
This hexatomc 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 7 th chord, the ".lP. er liad sounds the 9, n 1 and 13. On a dominant chord, the two triads include the :~ :ind the ,9 as well as the q11 and the 3 rd Like a blues scale, in the wrong hands this ~~[' ~e (',"asta' g!
2
7
2
7
2
7
~
Chapter 3
TUNE 6 (PROGRESSION 1) (CD TRACK 11) I Bb
~
B »7
, 5
9
~
X
F#jG 2
7
»7
/
E-7
Z
7
7
7
7
I
7
2
7
7
7
7
7
I
7
7
L
Z
7
7
L
Z
I
X
7
2
7
2
7
7
7
7
Ab-7
7
7
7
2
Z
2
Z
Z
7
Z
»Z
7
L
Z
L
Z
2
Z
,7
I
7
Eb?
AbjA
X
7
/
7
2
7
7
Z
7
7
Z
Z
7
7
7
7
7
2
7
7
7
7
7
7
7
7
IJ
B7
F#-7
Db?
7
Bb-7
7
7
X
7
7
Z
G7
CjDb
F7
BbjB
7
D-7
X
C-7
z
7
A7
DjEb 7
Z
L
X
EjF
TUNE 7 (PROGRESSION 2) (CD TRACK 12) I Bb
, 5
~
, 9
X
GjAb
e
L
7
Z
7
L
7
L
7
Z
F-7
7
7
7
7
2
7
7
7
A-7
7
7
7
2
Z
I
I
7
7
7
2
7
7
7
2
7
D7
7
7
7
7
7
7
7
Z
2
7
2
7
2
Z
Z
Z
2
Z
I
7
z
7
2
2
Z
7
7
2
7
7
7
E7
AjBb
X
Z
G-7
2
7
2
Z
7
7
X
B-7
Z
7
Ab?
qjD
X 2
7
Eb-7
FF
BjC 7
Z
X
q-7
Z
7
Bb?
EbjE
X
FjGb
2
Z
7
7
7
7
2
7
2
7
7
7
7
7
7
7
2
7
7
C7
Of course, improvising and using only one particular hexatonic sounds very one dimensional. Nevertheless, it is a good way to practice in order to make it your own. Try integrating this approach with other melodic material.
7
~
Chapter 3 Try progressions 1 and 2 with this hexatonic, too.
TUNE 6 (CD TRACK 11)
,
I B~
E~jE
FjF#
e
7
7
7
7
2
7
7
7
7
E-7
Z
2
7
Z
7
2
Z
7
7
7
7
2
7
2
7
I
D-7
A7
7
7
Z
Z
/
2
7
I
C-7
,
7
7
2
7
7
7
7
7
Z
7
Z
7
Z
7
7
7
7
7
7
/
7
7
2
Bb-7
Ab-7
Z
7
7
7
2
Z
Z
7
Z
7
2
7
Eb7 GjAb
AjBb 7
7
BjC
F7
9
/
G7
DbjD
=@
7
2
2
Z
7
7
2
7
2
Db7
7
2
7
2
7
7
7
2
F#-7
7
2
7
2
7
2
~
7
B7
TUNE 7 (CD TRACK 12) I Bb
~
EjF
F#jG
e
2
7
7
z
2
7
2
7
2
I
F-7
z
2
Z
2
7
2
7
Z
Z
2
7
2
7
2
7
I
Eb-7
Bb7
7
z
2
7
/
2
7
I
q-7
2
z
7
z
2
Z
2
7
2
Z
2
7
2
7
7
7
2
7
A-7
7
/
2
7
Z
Z
D7
I
B-7
FF
2
/
2
7
2
7
Cjq 7
7
7
7
7
7
7
7
E7 AbjA
BbjB
-6
7
Ab7
DjEb
~
2
2
Z
7
7
2
7
2
Z
G-7
2
7
2
7
7
7
I
2
7
C7
vVhen played on a dominant chord, this hexatonic sounds the ~ 13 and ~ 13, as well as the 79 and ~9. Try anticipating the dominant chord by playing the hexatonic on the _receding minor 7 chord. This is meant to be a particular sound and, of course, over Us.ing it would be comparable to over-spiced food. for the minor 7th chords you may either use the hexatonics given on the previous page .. any "regulal~' scale.
2
7
2
7
2
7
~
Chapter 3 TUNE 5
, , , , , , , ,
Hexatonic
e
(CD
9
TRACKS
'010)
I Eb
AjBb 2
7
Chord
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A7 b9
EO
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A7 b9
EO
5
7
I
7
7
2
7
7
7
7
7
7
7
7
7
Z
7
7
A7 b9
EO
7
7
7
7
7
7
7
2
7
7
7
7
7
7
~
7
A7 b9
EO
9
Z
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
A7 b9
E0
7
7
7
2
7
7
7
7
Z
7
,7
7
7
7
7
A7 b9
E0
13
17
21
25
7
2
I
7
Z
7
7
7
2
7
7
7
7
7
7
7
7
7
EO
A7 b9
E0
BjC
BjC
F#jG
7
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
7
I
7
7
A-7
D7
Gb
DjEb
DjEb
C#jD
2
7
7
7
7
7
7
7
C-7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
A7 b9
2
7
7
7
7
7
7
7
7
7
7
7
7
~
7
C#jD 2
7
2
7
7
7
7
7
B-7
F7
7
7
7
7
7
7
7
~
E7
AjBb 2
7
7
7
7
7
2
7
7
7
7
7
2
7
7
7
A7 b9
EO
7
7
7
7
2
7
2
7
2
7
7
7
7
7
7
7
A7 b9
E0
29
7
7
EO
z7
7
7
7
7
2
7
A7 b9
7
7
7
7
7
7
7
7
EO
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
A7 b9
This hexatonic when played over a minor 7b5 chord (0) sounds a b9 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, #11 and 13. On a dominant chord, the two triads include the ~9 and the b9 as well as the q} 1 and the 3 rd . Like a blues scale, in the wrong hands this could be devastating!
II
Chapter 3. TUNE 6 (PROGRESSION 1) (CD TRACK 11) I Eb
,
e
27
2
7
7
7
7
7
2
B-7
~
2
, 9
7
2
7
2
7
7
7
7
7
7
7
7
7
I
2
-
7
7
7
7
7
7
2
7
7
7
2
7
I
27
2
7
2
7
I
7
7
C7
F-7
Bb?
FjGb
X
EbjE
X
Z
7
7
7
/
2
7
7
Eb-7
7
7
7
Z
7
7
7
7
7
7
X
DjEb 7
7
2
7
2
7
Z
7
7
C-7
Z
7
7
2
7
2
7
7
7
Z
7
2
7
Z
7
7
7
7
7
7
I
(CD
Z
TRACK 12)
7
7
7
2
7
I
2
7
/
7
7
7
7
7
2
7
7
7
2
7
2
7
B7
F#jG
X
EjF
X
E-7
7
/
7
7
7
7
A7
2
7
Z
7
7
7
2
7
D-7
7
7
7
2
7
7
7
7
7
7
~
7
7
7
7
7
7
2
7
X
F#-7
7
7
Eb?
Db?
7
7
7
Ab-7
2
7
X
7
7
7
I Eb
AbjA 7
7
F#7
Bb-7
X 2
7
CjDb
F7
BbjB
7
q-7
Ab7
2
X
7
2
7
D7
G-7
B
j
/
GjAb
TUNE 7 (PROGRESSION 2)
, , ,
7
A-7
X
7
2
I
E7
AjBb
5
X
BjC
X
qjD
2
7
2
7
2
7
7
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.
/
7
7
7
2
7
7
2
2
7
7
~
Chapter 3 Try progressions 1 and 2 with this hexatonic, too. TUNE 6 (CD TRACK 11) I Eb
B-7
AbjA
5
F#jG
~'2~Z7~Z7~Z~/I~/~/~/~7~Z ~/~/~/~/~~/~/~/~7~Z
G-7
F-7
(7
BP
EjF
9
DjEb
~'~/~;~z~/~/~~/~/~~/~/~~/~7~Z~/~/~~/~/~~/~/~~
Eb-7
Ab?
q-7
F#7
TUNE 7 (CD TRACK 12) I Eb
~
Bj(
DbjD
B
, ,
2
z
7
z
2
z
2
z
I
7
(-7
z
2
z
7
z
Z
z
2
z
2
z
7
z
7
z
I
Bb-7
F7
7
z
2
z
7
z
7
z
I
Ab-7
2
z
7
z
Z
z
2
z
7
z
2
z
7
z
2
z
I
F#-7
z
E-7
2
z
7
z
7
z
7
z
A7
z
7
z
7
Z
2
z
7
z
7
z
7
Z
B7 EbjE
FjF# 2
7
GjAb
Db?
9
z
Eb?
AjAb
5
2
2
z
2
z
2
z
7
z
0-7
2
z
7
z
2
z
I
2
z
2
z
2
z
2
Z
G7
When played on a dominant chord, this hexatonic sounds the U 3 and b13, as well as the b9 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 CHAPTER
4
The fourth hexatonic to consider is augmented over augmented, a half step apart.
EXAMPLE:
B+ jC+
B+jC+
This hexatonic is a symmetric one, so there are actually only four of them. B+/C+ is the same as B+/E+ and G+/Ab+. The scale built on these two augmented triads follows a pattern of minor third, half step, minor third, half step, etc. 1/2
7. . -3
C"'::>
~
Z
C> .......
B+/C+ fits over the following chords: C67, £67, Ab67, C6 augmented, E6 augmented, Ab6 augmented, A-7, D7, 0-7, H7, F-7, Bb7, H0, B7b9, Bb 0 , B7b9, DO, G7b9.
Here are 72 different melodies based on the hexatonic B+/C+, B+/E+, G+/Ab+.
Chapter 4
B+/C+ I
~'
I
I
I
I
~3
I
~ I
~5 I
I
I
~ §
~9
I
I
I
~,o # I
~"
I
-'
-
B+/C+
.23
?;1~~
24 ..
1; -~.---r~~~~
Chapter 4
B+/C+
f
~ §~I
f
I
~
f~l~
I
I
~~~~
f
I
I
~
I
Chapter 4
B+/C+
Chapter 4
B+/C+
I
I
I
I
I
I ••
--;c
Chapter 4
B+/C+
61
,~~
62
~~
f;::::====::=
64 l----
65
'!J:~==
11 -.
I
~j ~['
.
...
;-~!
.:. :~
•
q
: • .:. E
Chapter 4
l
B+/C+
~
~i I
~ I
I
I
I
-c.
I
Chapter 4
E+/F+
Chapter 4
A+/Bb+
i:
I
I
~
I
I
I
I
I
I
I --:;
I
Cffapkr4
D+/Eh+
Chapter 4
G+/Ab+
~
II
I
I
I
I
I
I
..
I
Chapter 4
C+/Dh+
1
,~~~~~
Chapter 4 F+/Gh+
I
I
I
I
I
I
I
Chapter 4
Bh/B+
~
I ~
'
Chapter 4
Eb+/E+
I
I
l
I
I
I
I
I
-:1
.0
""';"
Chapter 4
Ah+/A+
"Illlll~~
,21l1l1l~~~
Chapter 4
C#+/D+
Chapter 4
H+/G+
Chapter 4
DESCENDING GRID: B+jC+ Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. B+/C+
C+/O+
O+/D+
D+/Eb+
Eb+/E+
E+/F+
F+ /F~+
F~+ /G+
G+ / Ab+
Ab+ / A+
A+/Bb+
Bb+/B+
T'
)
~
fI~
tJ
1'1
tJ
"
-
I
I
'
" "
0
~
1'1
I
I
tJ EXAMPLE
B+/C+
C+/O+
EXAMPLE
B+/C+
using the same melodic phrase from each starting note of the grid. Ch/D+
D+/Eb+
using different melodic phrases from each starting note of the grid.
C+/O+
O+/D+
D+/Eb+
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 4
ASCENDI G GRID: B+/C+ Try playing 8 notes of any hexatonic melody using the notes of the gtid as starting notes. B+/C+
B~+/B+
A+/B~+
A~+/A+
G+/A~+
F#+/G+
F+/n+
E+/F+
E~+ /E+
D+ /E~+
m+/D+
l'
l'
C+ /m+
" .j
-e
"-"
T'
"-"
)
, tJ ~
, tJ
"-"
"
()
"-"
I{
()
#"-" EXAMPLE
B+/C+
EXAMPLE
B+/C+
frU using the same melodic phrase from each starting note of the grid. B~+ /B+
A+ /B~+
A~+ /
A+
using different melodic phrases from each starting note of the grid. B~+/B+
A+/B~+
A~+/A+
,~~
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 4 APPLICATIONS
TUNE 8 (CD TRACK 13) I C Hexatonic
'e
G+j A~+ 7
C hord
5
7
7
c+jm+
7
7
7
2
7
7
Dbi1
D0
9
c+jm+
X
~ 13
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
Bb-7
EP
E+jF+
;/.
~ 21
~ 25
~ 29
~
Z
7
2
7
7
7
7
7
7
2
7
2
7
7
G+jA~+ 7
2
7
2
7
;/.
c+jm+ 7
7
7
7
2
7
7
7
7
7
Bb-7
EP
c+jm+
;/.
Z
7
Bb-7
7
Z
7
2
7
2
7
7
7
Eb7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
Z
7
7
7
7
7
7
7
7
2
7
EP
2
7
7
7
7
7
7
7
Z
7
7
G7b9b13
(F+ jF#+) 7
7
2
7
7
7
F7
7
7
7
7
7
2
7
7
7
7
2
7
7
7
7
7
7
7
2
7
7
7
Z
7
7
7
Z
7
7
7
Z
7
[b-7
7
7
7
2
7
Z
7
7
7
7
7
(F+ jF~+)
7
7
7
AP
;/. 7
2
(A~+j A+)
Gb+jG+
7
7
7
7
7
7
pb9
;/. 7
7
7
7
2
7
Z
7
7
G+j Ab+
c+jm+
Abi1
7
EP
P
7
7
(E~+/E+)
7
C0
Z
7
Bb-7
F+ jF#+
(Eb+/E+) 7
7
7
(F+jF#+)
c+jm+
C-7
(Eb+ /E+) Z
7
7
P
Abi1
Z
7
7
Z
D+ jEb+ 7
7
7
(F+ jF#+)
7
7
7
7
AP
X
G+jA~+ 7
7
pb9
D+jH+ 7
2
X
D+ jEb+ Z
7
(Ab+jA+)
Eb-7
C-7
(Eb+ /E+)
D0
Dbi1
7
2
7
Z
C+ jD~+ Z
7
C-7
Bb-7
7
7
7
(G+jA~+)
Abi1
7
7
C-7
c+jm+
7
7
7
G+j A~+
7
7
Abi1
(Eb+/E+)
17
7
7
G7 b9b13
G7
Z
7
G~+jG+
D+ jEb+
2
D-7
Z
7
Eb7
~
z7
7
G+j A~+
~
7
7
Bb-7
A~i1
c+jm+ 2
7
G+j A~+
(Eb+/E+)
7
7
7
7
2
7
7
7
7
7
7
alt.
7
Bb-7
7
Eb+ /E+ 7
7
7
EP
The chords in parenthesis are optional as they create more of an altered sound.
2
7
7
~
Chapter 4
TUNE 12 (CD TRACK 17) I C
,
Hexatonic
e
Z
Chord
5
~
, , , , 9
13
7
11
Eb+ /E+ z
Z
B+/C+ z
7
z
7
z
7
z
2
z
7
z
7
I
E[')#5
Z
Z
7
Z
7
Z
Z
7
Z
Z
7
Z
Z
2
7
Z
2
Z
F[')#5
C+/Db+
Ab+/A+
Z
Z
Z
Z
Z
Z
Z
7
Z
2
Z
Z
7
7
z
z
7
Z
Z
Z
7
Z
7
Z
7
Z
Z
2
7
z
I
Z
z
D[')#5
A+/Bb+
F#+/G+
Z
7
Z
7
7
7
7
7
Z
2
7
2
7
7
7
I
7
z
Bb[')#5
G[')#5
D+ /Eb+
Bb+ /B+
2
Z
Eb[')#5
Z
7
Z
7
Z
Z
Z
Z
7
7
7
Z
z
Z
7
Z
z
2
Z
Z
z
7
7
Z
z
2
Z
Z
z
7
Z
Z
7
z
7
Z
Z
O+/D+
Gb[')#5
Z
7
A [')#5
F+ /Gb+ Z
Z
I
Db[')#5
2
,7
E+/F+
Ab[')#5
7
,7
Z
C[')#5
G+/Ab+ 7
z
7
Z
7
7
2
Z
7
7
Z
7
Z
7
Z
Z
Z
Z
B[')#5
Z
7
7
z
z
Z
7
2
7
z
Z
Z
2
7
Z
Z
7
Z
7
7
7
2
7
2
7
2
7
7
2
7
Z
7
7
7
7
2
7
7
2
7
Z
Z
~
Chapter 4
TU N E 8 (CD TRACK 13) I Bb
Hexatonic
'n
A+ /Bb+ 2
Chord
, 5
9
l
, , , , , 13
17
21
25
29
7
2
7
2
7
2
7
7
7
2
7
2
7
7
7
,
7
EO
D+/Eb+
)(
7
2
7
7
7
7
7
(-7
7
7
7
2
)(
7
7
7
7
Z
7
7
7
7
7
2
7
7
Z
Z
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
)(
(F+/Gb+)
/
7
7
7
2
7
(-7
F7
D+/Eb+
)(
7
7
(-7
7
7
7
7
2
7
2
7
7
7
F7
7
7
7
7
7
7
2
7
7
7
2
7
7
7
7
7
7
7
Z
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
7
(G+/Ab+) 7
7
7
7
7
7
7
7
7
7
G7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
2
7
7
7
(F+/Gb+) 7
7
Z
7
Z
7
~
F7 (Bb+/B+)
2
7
7
7
Z
7
BP
(G+ / Ab+)
,7
7
7
7
7
7
7
G7 b9 )(
2
7
2
7
7
7
7
7
G7 a lt.
A+ /Bb+
D+/Eb+
BbL'.
Z
(G+/ Ab+)
7
7
DO
7
7
Ab+/A+
)(
2
7
(-7
E+/F+
7
7
7
(G+/Ab+)
D+ /Eb+
F-7
2
7
7
G7
G+/Ab+ 7
7
BP
7
BbL'.
7
7
7
7
)(
7
7
7
G7 b9
D-7
(F+/Gb+) Z
7
)(
A+ /Bb+
A7b9b13
D+/H+ 7
7
E+/F+
F7
EO
7
7
(Bb+ /B+)
F-7
E+/F+
EbL'.
7
7
D-7
(F+/Gb+) 7
A+/Bb+ Z
7
D-7
D+/H+
2
7
2
(A+/Bb+)
(-7
,7
7
D-7
BbL'.
,7
7
BbL'.
(F+ /Gb+)
D+/Eb+
7
2
A7b9b13
A+/Bb+
2
7
Ah/A+
E+/F+
A7
7
7
F7
E-7
7
7
F7
F#+/G+ 7
7
A+ /Bb+
A+/Bb+
EbL'.
2
7
(-7
BbL'.
D+ /Eb+ 2
(F+ /Gb+)
D+/Eb+
7
7
7
7
7
7
2
7
(-7
2
7
7
7
7
7
F+/Gb+ 2
7
7
7
F7
The chords in parenthesis are optional as they create more of an altered sound.
2
7
~
Chapter 4 TUNE 12 (CD TRACK 17) I Bb
, , , , , ,
Hexatonic
B
7
Chord
5
9
-3
7
F+jG~+ 7
7
C#+jD+ 7
7
7
7
7
7
7
7
7
7
7
7
7
G~",,#5
7
7
7
2
7
2
7
2
7
2
7
7
7
2
7
I
2
7
7
7
7
7
7
7
2
7
7
7
7
2
2
7
I
2
7
B",,#5
G+jA~+
E~+/E+
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
2
7
A~",,#5
E",,#5
B+jC+
A~+jA+
2
7
2
7
2
7
7
7
7
7
7
7
2
7
7
7
I
C",,#5
7
F",,#5
7
2
7
2
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
2
7
7
7
2
2
7
7
7
7
2
2
7
7
2
2
2
7
7
7
2
2
2
7
2
7
7
7
2
7
7
7
2
7
2
7
2
7
7
7
A",,#5
E+jF+ 2
7
B~+jB+
E~",,#5
,
7
G",,#5
D+jE~+ 7
7
F#+ jG+
B~",,#5
7
7
D",,#5
A+jB~+ 7
7
I
C+jDb+ 2
7
2
7
2
7
2
7
2
7
7
7
7
7
I
7
7
D~",,#5
7
7
2
7
2
7
7
7
2
7
2
7
2
7
~
Chapter 4 TUNE 8
Hexatonic
E+jF+
~B
,
7
Chord
5
~ 9
~ 13
7
7
~ 29
~
7
7
7
2
7
7
7
7
2
7
7
2
7
2
7
7
2
C7
C#+jD+
X
7
7
z
7
7
7
7
2
7
7
2
7
7
Z
7
7
7
7
7
7
7
2
7
7
B0
A+ jB~+
X
2
7
2
7
7
Z
7
7
G-7
C7
A+ jB~+
X
7
G-7
7
7
2
7
7
7
2
7
7
7
C7
7
7
7
7
7
7
7
7
2
7
7
7
7
Z
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
Z
7
C7
Z
7
(D+ jE~+)
Z
7
Z
7
7
7
7
7
7
D7
Z
E7 b9b13
7
2
7
7
7
7
7
2
7
7
7
2
7
7
Z
7
Z
7
Z
7
7
X 7
Z
7
7
7
Z
7
7
7
7
7
7
7
7
7
7
(c+jm+) 7
Z
2
7
7
7
~
C7
(F+ jG~+) 2
7
2
7
7
Z
F7
(D+ jE~+) 7
7
7
7
7
7
X
7
7
7
7
2
7
/
E+jF+
A+jB~+
Fll
7
D7 b9
D7 a lt.
7
7
C-7
A0
2
7
(D+ jE~+)
7
Z
D+jE~+
(c+jm+) 7
7
7
E~+ jE+
A-7
(c+jm+) 2
2
7
G-7
Fll
7
7
(D+jE~+)
A+ jB~+
B+jC+ 7
7
7
D7
E+jF+ 7
7
F7
7
X
A-7
(c+jm+)
2
D7~9
B+jC+ 7
7
X
B+jC+ 7
(F+ jG~+)
C-7
A-7
(E+jF+)
A+ jB~+ 7
7
A-7
7
Bbll
7
7
7
E+jF+
7
7
E7
2
7
Fll
(c+jm+)
A+ jB~+
7
7
E7~9~13
G-7
7
7
,
7
7
Fll
2
7
E~+jE+
B+jC+
7
7
G-7
2
7
C7
7
X
7
7
I E~
E+jF+
E+jF+
A+ jB~+ 2
7
13)
TRACK
(c+jm+)
G-7
B0
E+jF+
25
7
Bbll
17
~
7
A+jB~+
B-7
21
2
Fll
~ ~
A+ jB~+
(CD
2
7
2
7
7
Z
2
7
G-7
7
7
7
7
7
7
c+jm+ 2
7
2
7
C7
The chords in parenthesis are optional as they create more of an altered sound.
7
7
IJ
Chapter 5 TUNE 12 (CD TRACK 17) I Eb Hexatonic
t
B
7
Chord
5
~ 9
~ 13
Ab+/A+
C+/Db+ 7
7
7
7
7
I
7
7
7
7
7
7
7
2
7
Dbtl#5
7
7
7
7
,
7
/
7
7
7
7
7
7
7
7
I
7
7
7
Ftl#5
D tl#5
A+/Bb+
F+/Gb+
7
7
7
/
7
7
7
2
7
7
7
7
7
7
7
I
7
7
Ebtl#5
B tl#5
17
F#+/G+
Eb+jE+
~1
7
7
7
2
7
7
/
7
2
/
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
I
7
7
Z
I
7
7
7
2
G tl#5
Etl#5
B+/C+
G+/Ab+
2
7
7
2
7
/
7
7
Z
7
7
7
7
7
7
7
7
2
7
7
7
7
7
/
7
7
7
7
7
7
Z
7
7
7
7
Bb+/B+
D+/Eb+
~
, ,
7
Gbtl#5
Bbtl#5
7
7
C#+/D+
7
7
7
Atl#5
E+/F+ 7
7
I
7
2
7
/
7
7
7
7
7
7
7
7
2
7
I
C tl#5
7
7
2
7
7
7
2
7
2
7
7
7
7
7
2
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
Abtl# 5
CHAPTER
5
The fifth hexatonic is two major triads a tritone apart.
aq #Ef II~
F#/C
i'~lIg#ji§) ~~I c
This hexatonic creates part of a diminished scale and could be used over C7, B7, F#7 or A7. Played on a C dominant 7, the hexatonic spells out the root, ~9, 3 rd , #11, 5th and 7th of the chord. on a
C7
6• ... ,... =,9
.-_(3.::-~
on an
• ~- • 3
:11
5
~. 7
... 13
Eb7
on an
&• q. ;1- • 7
,9
19
:-.ere atc 72 melodies based on the
3
F~/C
~. 5
... '11
hexatonic.
F#7
on an
j;#... • ;1- • 5
7
root
,9
3
... '9
A7
#... • ~- • 3
5
13
7
~. ,9
Chapter 5
Hie
f' #Ur~
I
f3
II
~r#~~#~~· ~
~
f5 ~~ I
,~~£
~
I
~~ I f9~#~
~~~~~~~~
II
~
I
I
I i
f"
=if. ~J ~ '
I
j",
~r r r Ftr Ii.- #EF r r#r #~~~~~
Chapter 5
Hie
L
<:apter 5 Hie
f~I'~~~
~r~II~~~
f2
7
~
f
~~~~
f3
1
I
~~
I
f~~~~
I
~~~~
I
f35
ott
I
~
,.~~~r r ~ " -::- '~I"#~~~r§~~ ] ~ ~
~ ~ I' -Z-::_:;
_ _ _ _ _Chapter5
Hie
44
#
q
~~
f~~ 46
~~~~~
$47J~~~
Hie
Chapter 5
Hie 61
,~~ 62
'II~
f~
64
~
f~II~'---~
66
-
ff--- 68
fi
~9 l---
70
_~I
f 72
, • • .~ rjr~~
r
Chapter 5
Hie
"
I
I
I
~
I
, 5 ~ I
~
I
, FfJ1WJJb[tTt@P11nmJ fjnc
I
I
,9fJWJ~~ I
~
Jap
1"~¥~ ~
fE ~ r£[~r!IP r fft~rll" r 8¥Jif~p ~2~
~
~
:*# #
I
I
~~
I
Chapter 5
BIF
1
,~~
2
'~~I~~
,3~~
,4~~
11
Chapter 5
E/Bb
Chapter 5
AlEb
Chapter 5
D/Ah
.....-
Chapter 5 G/Dh
, , , 1
11
12
£~ ~
Chapter 5
CIGf>
Chapter 5
FIB
Chapter 5
Bh/E
II
I
I
I
I
I i
I
HIA
Chapter 5
Chapter 5
A&/D
~
I
I
I
I
I
I 1
J
I
Chapter 5
Db/G 1
~L 2
'I 3
4
'I 'I 'I
'I 'I
'I t
5
~
6
~
7
8
9
10
~
11
&~
L
n
-4 :; -.t.
V
• • -
•
j
.
L?-#-.
Chapter 5
DESCENDING GRID: F~/C Try pJayiJJg 8 notes of any nexatonjc meJooy LJsmg the notes of the gIid as startmg Dotes. GbjC
GjDb
AbjD
AjEb
BbjE
BjF
CjGb
DbjG
DjAb
EbjA
EjBb
FjB
'
, +IOU'
t..
~
u
, t..
, t..l
, t..l EXAMPLE
GbjC
GjDb
EXAMPLE
GbjC
using the same melodic phrase from each starting note of the grid. AbjD
AjEb
using different melodic phrases from each starting note of the grid. GjN
AbjD
AjEb
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.
ASCENDI G G 10: F#jC Try playing 8 notes of any hexatorllc melody using the notes of the grid as starting notes.
)
F#/C
F/B
-e
-e
E/B~
"-'"
E~/A
v~
D/A~
~
D~/G
C/F#
"
B/F
Bb/E
A/Eb
Ab/D
G/Db
"
1
tJ
1
tJ
"
f+"-'"
tJ
"
1\
~-e-
t.J
d
~-eEXAMPLE
F#/C
EXAMPLE
FVC
H'J using the same melodic phrase from each starting note of the grid.
F/B
E/Bb
Eb/A
using different melodic phrases from each starting note of the grid.
F/B
E/Bb
Eb/A
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.
"-'"
v
Chapter 5 APPLICATIONS
Try using major triads a tritone apart on tune 8 over the dominant chords. TUNE 8 (CD TRACK 13) I C
, , , , , , , ,
AjEb (F#jC)
Hexatonic
B
7
Chord
7
7
7
7
7
Z
7
Z
7
2
7
7
Bb-7
AbL'1
7
7
DjAb
7
7
Eb7
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
G7b9b13
D0
DbL'1
7
7
I
7
7
7
7
7
Z
7
7
Z
Bb-7
Z
7
7
7
7
7
Z
7
7
7
7
7
7
7
7
2
7
Z
D-7
7
7
7
7
2
7
7
7
7
7
7
7
2
7
7
7
Z
(-7
2
7
Z
Z
7
7
7
Z
z
7
7
7
7
7
Z
7
7
7
7
2
Bb-7
AbL'1
7
7
7
Eb7
7
Z
7
Z
7
7
Z
7
7
7
2
7
7
7
2
7
Z
7
Z
7
7
7
2
7
7
Z
7
7
7
Bb-7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
Z
Z
7
7
7
7
7
Z
7
7
7
Z
Br 7
7
7
7
BjF 7
7
2
7
Z
7
7
7
Eb7 __ €X~
70::':
7
7
7
7
Z
7
2
7
~
Z
7
7
2
(BjF)
7
Z
7
Ab7 (AbjD) 7
7
Z
7
7
7
F7 b9 BjF
Z
7
Z
7
7
Z
7
Z
7
Z
7
Z
(0
7
7
Eb7
7
Z
Z
Z
7
Z
7
7
F7 alt.
AjEb (F#jC) 7
7
Eb-7
(-7
Eb7
29
7
AjEb (F#jC)
AjEb (F#jC)
25
7
DjAb
AbL'1
G7b9b13
D0
DbL'1
7
7
Bb-7
F7
DbjG (BbjE)
21
7
7
AjEb (F#jC) 7
7
F7
(-7
G7
17
7
Ab7
BjF (AbjD)
7
7
BjF (AbjD)
DbjG (BbjE) Z
Z
F7 b9
(-7
Eb7
13
7
BjF (AbjD)
AjEb (FDj()
9
7
Eb-7
AbL'1
DbjG (BbjE)
5
7
(BjF)
AjEb (F#jC) 7
7
7
7
7
7
7
7
7
7
Z
7
AbL'1
sin arent.l sis create a higher egree of tension.
7
7
Bb-7
2
7
7
7
Eb7
7
7
~
Chapter 5
Bb TUNE 8 (CD TRACK 13) I Bb
==.0 --: :1:--'::::5 in parenthesis create a higher degree of tension.
Chapter 5 TUNE 8 (CD TRACK 13) I E~ G~j( (E~jA)
rlexatonic
in ,
7
Chord
, , , , , ,
7
7
7
7
2
7
7
7
7
7
7
B~jE 2
7
Z
7
7
7
7
7
7
7
G~j(
7
7
7
7
2
7
2
7
7
7
B~jE
13
7
7
7
7
7
7
7
B-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
G~j(
25
7
7
7
7
7
7
7
7
7
7
G~j(
29
7
7
G-7
7
2
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
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A~jD 7
7
7
7
2
7
7
7
7
2
7
7
7
7
7
7
7
7
7
2
7
7
I
7
(E~j A) 7
7
~
(7
2
7
2
(A~jD)
7
7
7
F7 (F jB) 7
7
7
7
7
7
D7~9
A-7
A~jD 7
7
7
7
7
7
7
7
7
7
2
7
I
7
7
7
7
7
7
G~j(
7
7
7
7
7
7
7
7
D7 alt.
(E~jA) 7
7
(FjB)
(-7
A0
7
7
BjF 7
7
(F jB)
G-7
D7
(E~jA) 7
7
7
G~j(
(GjOb) 7
7
F7
(FjB)
F~
E7~9~13
7
7
(E~j A)
(7
7
7
D7 A~jD
7
7
7
(A~jD)
D7~9
A-7
(7
G-7
7
A~jD
A-7
B0
B~~
7
(-7
(GjOb)
B~jE 7
7
A-7
21
7
7
A~jD 7
G-7
F~
2
(GjOb)
E7
2
7
(E~jA)
G~j( 7
7
F~
E7~9~13
17
7
7
(7
G-7
7
7
2
B0
B~~
7
(7
G-7
F~
9
1
7
BjF
7
7
2
7
7
7
F~
Hexatonics in parenthesis create a higher degree of tension.
7
7
G-7
7
7
7
7
(7
(E~j A) 7
7
~
Chapter 6 CHAPTER
6
The sixth hexatonic is two minor triads a whole step apart. EXAMPLE:
D- jC-
This is a very common hexatonic and can be used over many chords. For example, D-/C- fits over C-7, F7, A0, £I,~7 and B7 altered.
Chapter 6
D-/C
,'~.
,2~b~00r~ ,3~1!
,4~b~~~~~ ,5~b
,6~b
'~I!~~~~ ,8~b
,9~b~
,';.~~
"~b
£';b t-'
t F Et==ri=t r ~",*F~r~r~r~r~r~r~~~~
-Chapt, ;:' D-/C
13
'~b ~oo=fi~~~
'~b - ~ ~ ~ ~ ~ ~
14
15
'~b j J J j iJ J a EEE¥f r r F Eirffi=F 16
'~b -~~~~
~
17
'~b
,
18
~b
Ur1[m~3J~~
19
'~b fj:U 1U]ffvPJJ=cwcr;ug~ =<
20
'~b EhrmIr1LJWmB~i$i§g~~ 21
,
~b
muu&mt1I8mEU~~
22
'~b rtru£i1fFEfillJWh~~
23
lfllUWf1Jhnrcr m~~·
=£-t-~tJ
t 9~ FE ~ ~ ~ ~ . 24
t.
Chapter 6
D-/C
Chapter 6
D-/C
~3;~
,3:~
~3;b~~
~4;1'~~
~4~1'~~
~~I'§~ ~4;1'~~
~4;1'~~~
Chapter 6
D-/C
,4:b_~
,S;b~~~~
,S~I' ~
00=00
'~bgOO~~ ,S:b~~
,S;b ,S:b ,S;b ,S;b
I
·1
..J !
,S:b~
-" -"
-"
fS:b
,6;b
D-/C
_ _ _ _ _ _-=chapter 6
61
f~b~ 62
f~b~~
f6:.
00
f6;1'~
f6:. 66
f~'
I
f6;:, 68
f~' ~f6;.
-,;._~ ~fl, 72
-~: r r rJ
hapter 6
D-/C
l
,'~f,
,2~·~00F~ ,3~b~J~ ,4~b~~ ,5~b
I
,6~b
I
'~b
I
,8~b
I
,9~b
I
,':1,
I
i'~I',':1.
~2:::
I
I
G-/F
L
~
Chapter 6
C-/Bb
~0b~
I
,2~IV~~_
I
~0~
I
~~~
I
~0~ ~ ~
~~~ ~ ~
~0~
I
I
I
,8~1\~
I
~~~
I
";b:,~
I
~~b~
I
"~bb~ EM r IT r Fr r r mr ~ ~ ~ ~ • : : *-.... i
II
Chapter 6
F-/Eh
1
,~~~~~~
--l
--4
t.
Chapter 6
Bb-/Ab
~~~~b
I
,2~bb~~b ~ r:m::r~
I
~~~~
I
~~~b~
I
~~bb~~b
I
~~~b
I
~~b~b
I
~~~b
I
~~~~
I
~~~~
!
ti~~b
=--
u
~'>,~,~~[r~~ !5 J ~
.."
D#-/C#-
Chapter 6
Chapter 6
GP-/H
~~~ ~~~
~~~ ~I~
~
~~~~~~l
~~~~~~l ~~~~-I
~~~~-I
~~~~I
~i~I~~1 ~~~I~I ,'jIll
~ r
-ij
Chapter 6
C#-/B 1
,###~~~
2
,###~~~
--'
@
Chapter 6
F#-/E
"~~~~I ,2~~ ~ JIDr~~1
~~I ,4~~~~1 ,5~~~~1
'\~~I ,~~ J1Vffl~maa[1m ,8~~ [ftdtl f fEIfjmriJillHB j VA
,9~~f~~~1
1 ° ~ 1
, ~ ~ -
,\~
,'~~
~~.:~I
Chapter 6
B-/A
Chapter 6
~
E-/D
"
~
,3 ~J~ ,5~
,
I
~
I
I
§
I
,9
I
I
-
,"~
~~-
I !
I
.....-
Chapter: A-/G 1
,~~ 2
'~~fm#~
~3~~
,4~~
,5~~
6
,~~
,~~
8
,~~ ,9~_
,~ ~ = - 10
~=====:3
11
~
&:~~~~~
1
f.
Chapter 6
DESCENDI G GRID: D-jCTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. D-/C-
D#-/U-
E-/D-
F-/Eb-
F#-/E-
G-/F-
Ab-/Gb-
A-/G-
Bb-/Ab-
B-/A-
C-/Bb-
U-/B
~
)
'U'
)
t
:J+'U'
tJ
t tJ
t "
tJ
v~
)
EXAMPLE
D-/C
D#-/U
EXAMPLE
D-/C
using the same melodic phrase from each starting note of the grid. E-/D
F-/Eb-
using different melodic phrases from each starting note of the grid.
D#-/U
E-/D
F-/Eb-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 6
ASCENDING GRID: D-jCTry playing 8 notes of any hexatonic melody using the notes of the grid as Stalting notes. D-jC-
O-jB-
C-jB~-
~-e-
v'U'
B-jA-
B~-jA~-
A-jG-
A~-jG~-
G-jF-
F~-jE-
F-jE~-
E-jD-
D#-jO
'U'
+!''U'
1'1
)
-e
'U'
~
" u
"
" U
'U'
" tJ
1\
-e
T'
lJ
" U
~
EXAMPLE
D-jC-
EXAMPLE
,
D-jC-
~
using the same melodic phrase from each starting note of the grid. O-jB-
C-jB~-
B-jA-
using different melodic phrases from each staliing note of the grid. O-jB-
C-jB~-
B-jA
Also, try improvising using any rhythm but staliing your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 6
APPLICATIONS
Try using this heaxatonic on tunes 1, 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 30' 4) I C
D- j C
Hexatonic
'B ~
, , 9
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
7
7
7
7
2
7
7
7
z
7
7
7
A-jG 7
7
7
7
7
2
2
7
7
7
7
7
7
7
7
7
F7 sus
Bb? sus
7
7
D-jC
G-jF 7
7
F7 sus
Chord
5
7
7
D-jC
G-jF 7
7
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
F7 sus
Bb? sus
C7 sus
7
TUNE 2 (CD TRACKS 5 0' 6) I C
G-jF7
7
7
7
7
7
7
777
7
7
777
7
7
7
7
7
7
7
7
7
7
7
7
7
~
Bb? sus
, , , 9
17
25
G-jF 7
7
7
7
7
7
7
,
7
7
7
7
7
7
2
7
7
, , , 7
7
7
7
7
, , , 7
7
7
7
7
, , , 7
7
7
7
7
, , , 7 7
7
7
2
7
2
7
7
7
7
7
7
7
7
7
7
7
7
,
II
Bb? sus
B-jA 7
7
7
7
7
A-jG
E-jD 7
7
7
7
7
7
7
7
7
7
7
D7
2
, , , 7
2
7
7
7
, , , 7 7
7
7
G7
7
, , , 7
7
D-jC 7
7
7
, , , 7 7
7
7
C7 sus
7
, 7, , 7
7
7
7
, , , 7
7
7
7
Il
F7 sus
G-jF .I
.I
Bb? sus
.I
7
.I
.I
7
7
.I
.I
7
7
.I
7
Z
7
7
777
7
Z
7
Z
71 r" T7 T T
rTrzB1) 7777
Chap;
;
TUNE 3 (CD TRACK 7) I C G-/F
F#-/E-
~
B
2
7
7
7
7
7
2
7
7
7
Z
7
2
7
7
2
9
~
7
2
7
7
7
2
7
7
2
7
2
7
2
7
7
I
7
7
Z
D7 alt.
A-/G
D-/C
7
2
7
2
7
7
7
7
2
2
7
2
7
2
7
2
'e , ,
7
2
7
2
7
2
7
7
E~-/m-
z
2
7
Z
Z
2
Z
7
7
7
7
7
7
7
7
2
Z
Z
7
7
7
Z
Z
2
7
Z
2
Z
2
z
2
7
2
7
2
7
2
7
2
7
2
7
7
2
7
7
7
2
7
2
Z
7
2
7
Z
7
2
7
7
7
7
2
7
2
7
7
2
2
7
~
7
7
7
Z
7
Z
7
7
I
7
2
7
2
7
2
7
2
7
2
7
7
=-/
2
7
2
7
2
C7~9
Z
7
Z
7
2
7
Z
(CD
2
2
Z
Z
7
2
7
2
7
Z
2
7
z
I
2
7
2
7
7
F0
Z
7
Z
7
Z
7
Z
2
Z
7
2
7
Z
2
7
Z
7
7
7
7
2
~
7
A7~9
IC A-/G
7
7
7
2
7
2
7
I
2
7
2
7
7
7
2
Z
F#7 b9 F-/E~-
7
L
2
C-/B~-
2
7
2
7
2
7
I
7
7
7
Z
2
7
7
D7~9
B~-/A~7
7
7
A0
-7
Z
DP~9
2
TRACK 15)
Z
7
E-/D 7
z
Z
F7~9
D-/C
7
7
7
q0
E~-/m-
C-/B~-
7
F#-/E
E7b9
B0
7
EO
G-/F 2
A~-/G~-
A-/G 2
7
IC
A~0
A~7~9
E-/D
GO
Z
Z
B-/A
E~0
7
7
O-/B
B7b9
A~-/G~-
,
7
CO
TUNE 10
2
7
D-/C
F#0
2
7
F-/E~-
EP~9
B-/A
B
2
TRACK 14)
F#- /E
B~0
2
7
G 7~9
DO
2
(CD
B~-/A~-
G-/F
5
7
B7alt.
TUNE 9
2
7
F-/E~-
G-7
, , ,
7
A-7
7
9
7
E7 alt.
B-/A
~
9
7
E-6 9
5
5
7
2
O-/B 7
2
7
7
Z
7
7
BP~9
7
7
,
7
7
7
Z
Chapter 6
, , ,
b
TUNE 1
Hexatonic
e
5
9
E-jO 2
Chord
I
2
7
f
7
2
7
2
7
2
7
2
7
2
7
2
7
7
7
7
7
7
2
7
2
7
7
7
2
7
2
7
2
7
I
7
2
7
2
7
2
7
7
A-jG
B-jA 7
7
2
7
7
2
2
7
7
7
2
7
2
2
7
2
7
2
7
2
7
7
7
2
7
2
7
2
7
2
7
7
7
7
7
2
7
2
7
7
G 7 sus
(7 sus
07 sus
,
I B~
(CD TRACKS 5 er 6)
.I
.I
,
7
,
Z
,
7
Z
7
,
7
Z
,
,
,
Z
,
,
,
,
,
Z
,
7
,
,
(7 sus
17
A-jG ,
,
7
,
,
7
Z
777
(7 sus
F#- jE
O-jB-
E7
,
,
L
B-jA
~';~~2~1~2~1~~2~1~2~7~~2~7~2~7~2~7~~2~7~~~2~'~2~'~7~'~~2~'~~~2~7~2~7~2~7~2~7~ 25
A7
/
/
E-jO /
," 7,,Z 7
/
Z
(7 sus
Z
Z
"
Z
,
,
z ,
,
"
7
,
7777 rrrZ
G 7s us
07 suS
A-jG7
7
7
2
7
E-jO
A-jG
,
7
G 7 sus
TUNE 2
9
7
E-jO
(7s u s
2
7
G 7 sus
A-jG 2
I B~
(CD TRACKS 3 er 4)
,
-'
7
2
7
~
Chapter 6
, , ,
TUNE 3 (CD TRACK 7) I Bb
A-/G
G#-/F#-
,
7
B
F#-6
7
7
2
7
2
,
7
7
7
2
7
7
2
7
2
2
,
7
7
7
,
2
7
,
7
2
7
7
FF alt. G-/F 7
7
7
7
Z
7
7
7
7
7
7
7
7
2
I
7
2
Z
7
7
2
7
7
,
7
7
7
7
E7alt.
E-/D
B-/A7
I
7
2
I
B-7
7
7
7
2
7
2
7
7
Z
7
7
7
7
7
I
A-7
, ,
7
7
7
7
Z
7
Z
7
2
7
2
7
"
~
7
2
q7 alt.
TUNE 9 (CD TRACK 14) I Bb
Z
7
7
,
7
7
2
7
Z
7
7
2
,
,
7
7
7
C0 O-/B-
t
Z
7
2
7
7
,
2
7
7
7
Z
7
7
7
7
7
7
2
7
7
7
7
7
7
2
7
7
7
7
,
7
7
Z
7
2
7
G7 b9
F#-/E 7
2
B-/A-
q7 b9
G~0
7
2
E-/D2
7
7
Eb-/Db-
Bb 0
7
7
2
D0
F7 b9
2
Bb-/Ab
,
7
7
Ab-/Gb-
F- /Eb7
7
A7 b9
E0
2
G-/F-
C-/Bb-
A-/G-
B
7
2
7
7
7
7
7
2
7
2
7
2
Eb7 b9 D-/C Z
7
Z
7
7
7
7
7
7
7
7
7
Z
~
7
B7b9
F#0
TUNE 10 (CD TRACK 15) I Bb
Bb-/Ab-
B
9
7
9
7
7
9
5
7
O-/B-
5
, , ,
Z
2
7
2
7
2
7
2
7
I
Z
F#-/E7
7
7
2
7
7
2
AO
7
7
7
7
7
7
I
2
7
7
7
7
,
7
Z
7
D7 b9
,
7
,
7
7
2
,
7
2
7
2
7
2
7
2
7
Z
7
2
2
7
2
7
,
7
G0
7
2
7
2
7
2
7
7
2
7
2
7
2
7
2
7
E7 b9
C-/Bb7
2
G-/F
B0
2
7
Apb9
E-/D-
F- /Eb2
B-/A
Eb 0
F#7 b9
D-/C7
2
A-/G-
q0
,
7
Bp b9
F0
2
Ab-/Gb-
O-/B-
Eb-/Db Z
7
2
7
,
7
,7 C7 b9
2
7
,
7
2
7
~
Chapter 6 TUNE1 (CD TRACKS 3 er 4) I H
B-jA
Hexatonic
~
B
I
7
Z
7
Z
7
7
7
/
7
7
7
7
7
Z
7
7
2
2
7
7
7
Z
7
7
2
7
7
2
7
2
7
7
7
Z
7
7
7
7
Z
7
Z
7
7
2
C-jB~7
7
Z
7
7
7
7
2
7
7
7
7
7
7
Z
7
D7 sus
G7 sus
2
7
B-jA
E-jD-
9
~
7
D7 sus
Chord
S
~
2
7
E-jD-
7
7
7
7
7
7
A7 sus
7
B-jA 7
7
7
7
7
7
7
2
/
7
7
7
7
7
7
7
7
7
7
2
~
7
D7 sus
G 7 sus
TUNE 2 (CD TRACKS 5 er 6) I H
E-jD 7
Z
Z
,
z z z z
Z
,
,
z
G 7 sus 9
~
E-jD z
z z z z
Z
Z
z z z z
7
z z z z
z
z
z
z
G7 sus
.I
.I
F#- jE-
G-jB-
G#-jF#-
17
7
7
.I
.I
,
7
,
7
Z
z z z z
Z
E7
B7
B-jA .I
,
z
,
z z z z
D7 sus
A 7 sus
E-jD ,
,
z
z "
z ,
z z z
,
,
z z z z
z z z zEi rrrzEi
z z z z
G 7 sus TUNE 3 (CD TRACK 7) I H
E-jD
E~-jm-
~ s
~
9
~
e
7
7
2
7
2
7
2
7
7
7
/
2
7
2
q_6 9
7
2
7
7
7
2
7
7
7
2
7
2
7
2
7
7
7
2
7
B7alt.
F#- jE-
B-jA
7
E-7
Z
7
7
7
2
7
7
7
2
7
Z
7
2
7
D-jC
F#-7
2
2
CFalt.
G#-jF#7
7
7
2
7
7
7
2
7
2
7
2
7
7
7
2
7
G~7 alt.
Zl
/
2
7
7
7
7
7
7
7
7
2
7
7
2
7
7
7
2
Z
7
7
7 7
7
7
~
Chapter 7
TUNE 9 (CD TRACK 14) I Eb
'e , , 5
E-/D-
,
7
2
7
2
7
7
7
/
C-/Bb7
7
z
2
7
/
7
7
2
7
/
7
2
7
Z
Z
7
7
2
Z
7
7
7
7
7
7
/
F#-/E2
7
Z
7
2
7
2
5
7
2
7
2
£ V
/
2
Z
7
7
2
7
2
7
7
TRACK
2
7
7
7
7
7
7
7
7
2
7
7
Z
7
Z
A7 b9
E0
CHAPTER
7
7
7
7
7
I
7
Z
7
7
7
2
7
2
7
I
7
2
Z
7
7
2
15)
2
7
Z
7
I
7
7
7
2
/
2
Z
Z
7
D0
/
7
7
7
7
2
7
2
7
7
7
7
2
7
/
z
2
~
7
2
7
Z
7
2
7
Eb7 b9 D-/C /
Z
7
Z
2
7
I
2
7
/
Z
z
2
7
B7 b9 Bb-/ Ab Z
7
2
7
7
7
Z
7
G 7b9
7
The next hexatonic is major over minor a whole step apart.
EXAMPLE:
7
/
F#-/E
G-/F7
7
I Eb
F#0
7
7
F#7 b9
B-/A2
7
A-/G
Bb 0
C-/Bb7
2
Eb-/Db-
Dpb9
A-/G2
(CD
E-/D-
C#-/B-
7
Bp b9
Z
Fl b9
C0
Ab 0
~
7
2
q0
Ab-/Gb2
7
C#-/B
2
B-/A-
F-/Eb-
2
D7 b9
Z
/
F0
Z
/
Bb-/ Ab-
Apb9
7
7
F-/H
A0
TUNE 10
'Il ,
/
C7 b9
7
Eb 0
2
7
Eb-/Db-
Ab-/GbZ
7
E7 b9
G0
9
I
B0
2
D-/C-
G-/F-
BbjC-
You can see how this hexatonic is commonly used because the m triad starts on the
Tic of C minor and spells out the 7th , 9 th and 11 th of the C minor chord.
B- C- can b usei oyer C- I F7sus. [,:-.7 A,:-.7. F-7, B,7sus and A(!}
2
Z
2
7
7
7
~
......,
Chapter 7
Bb/C
,'~"
I
,2~b~~~
I
,3~1'
I
,4~b~~
I
=&\1'
I
,6&b
I
t&b~~
,8&b ,9&b
I
I
I
,';b "~b
"~b
--:
Chapter 7 B&/C
~'~b~
~':b~~~~~~
~':b~~~~
16
~~b~~§~~
~'~b~
~~b~
18
~'~b~
20
~~b~~~§~~
21
~~b~~
22
~~I!§, ~~
~2:b~~~ -.I.
Chapter 7
Bb/C
,2:
1,
,2;"~~~~
,2;. ,2;1,
,2;1,
,3;.~
I
,3~1'
I
,3:.~~
I
,~.~~~~
· · · ·
,3;.~~~~
,~"
-'" ~
36~.
'~I'~
Chapter 7
Bb/C
--'
t.
'-
Chapter 7
Bb/C
,4;b_~
,';b ~ w=g: ~~ '~b~~ ";b~~~~
,':b ~ oo==emn '~b
I
,':b ,';b
I I
,';b
I
,':0
I
.. -"
-
,':" ~~r~~
'bb~rJ=b 60
Bb/C
.: -.
J~::. I
Chapter 7
Bh/C
J
"~I'
,2~b~%r~
,3~b
,4~b ,S~b ,6~b
'~I' ,8~b
,9~I'
,';1,
"~b
,';b ~__ ~. ~J J:::
I
I
I
I
I
I
I
I
--.
-)
-
Chapter 7
Eb/F
Chapter 7
Ab/Bb
~~~ ~2~I!b~~~~
~~~ ,4~b&~
~~~
~~~ '~b&~ ,8~bb~
I
I
,9~1>&~
I
"~I!&~
I
~:~~
I
~~29#~- I
~
Chapter 7 Dh/Eh
, 12
£ h, )
~
~
)
Chapter 7
Gb/Ab
~
~
Chapter 7
B/C#
t.
Chapter 7
E/H
~~~
~~~
,3~b
~~I
J
,5~1#1~~~ ,6~##IE~~ I '~#~I
I
'\#1
I
~~I~
I
~i~l~
I
~~~
I
"~b ~rJ~r~~J2.3::
:I
A/B-
Chapter
, , ,
j~~~~
9
jll~-
£~ ~~2
10
'"
gf 11
---.: 2
~ ~; -~
Chapter 7
D/E
i
'j
#
i2j#~00r~
i
3jj
i4jj~~
i\1
i
6j
#
I
~jll
I
~8jj
I
9jj
i 'j i
i I
. .
#
i'~#~ $'~#
iffiw j J 2:;
I
G/A-
t..
'-
Chapter 7
Chapter 7 -~
C/D
I
I
I
I
F/G-
,.
6 -~
'-----
Chapter 7
Chapter 7
DESCENDING GRID: B~/CTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
,
Bb/C-
B/O-
C/o-
m/Eb-
O/E-
Eb/F-
E/n-
t.l
F/G-
Gb/Ab-
G/A-
Ab/Bb-
A/B
'-J
J
'-J
t.J
)
~
ff'-J
, l'
t.l
,
I
t.J
"
~
)
using the same melodic phrase from each starting note of the grid.
EXAMPLE
Bb/C
B/O
EXAMPLE
Bb/C
c/o
m/Eb
using different melodic phrases from each starting note of the grid.
B/O
C/O
m/Eb-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 7
ASCENDING GRID:
B~/C-
Try playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. B~/C-
A/B-
A~/B~-
-e
~-e-
v~
G/A-
G~/A~-
F/G-
E/Fff-
E~/F-
D/E-
m/E~-
C/D-
B/C#
II
U
~
"
;
u
v
)
"
II
~
"
U
II
v~
U
II
U
~
EXAMPLE
B~/C-
EXAMPLE
B~/C-
~
using the same melodic phrase from each starting note of the grid. A/B-
A~/B~-
G/A
using different melodic phrases from each starting note of the grid. A/B-
A~/B~-
G/A
f 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.
~
l+~
Chapter 7 APPLICATIONS
Apply this hexatonic to any of the preceding tunes as well as tunes 13 and 14.
TUNE 13 (CD TRACK 18) I C B~/(-
Hexatonic
(F/G-) ,
7 " 7 r r7 r7 r7 1 rr r'Z
1 17
A~/B~-
Bb-7
~
Ab-7
25
E/FU
~ 33
~ 41
7
7
7
7
7
7
F#-7
7
,.
7
,
,
7
777
7
7
7
7
7
7
7
7
E-7
(/0
,.
7
2
7
2
7
I
2
, , , 7
7
7
7
,
7
Z
77,.
7
7
7
7
,7,.
7
7
7
7
7
7
2
7
7
7
7
7
7
7
2
, , 7
2
, , 7
2
7
2
7
2
7
Z
,
2
7
2
,
7
7
2
7
7
7
2
7
7
7
2
7
2
7
7
7
Dorian
(B/O-) 2
7
7
7
I
2
, , , 2
2
7
7
2
,
2
"' 2 7
2
7
2
7
2
7
7
7
7
7
2
, , 2
2
, , , 2 2
2
"'
7
7
7
7
2
"'
2
,
2
7
7
7
7
7
2
7
7
7
2
7
2
7
7
7
2
7
Dorian
(A/B- ) 2
7
2
7
I
2
, , 2
2
"'
2
7
2
"'
2
,
2
7
7
7
7
7
Z
7
7
,
2
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
2
7
Dorian
(G/A-)
77771
7
"7
" " : : rrrz 0-7
,
,
(m/E~-)
O/E 2
777
Dorian
G~/A~.7
7
(E~/F-)
,,77
7
7
,
(-7 Dorian
Chord
9
,
Dorian
,
,
,
7
7
"
7
,
7
,77
,
,77
"
,77
2
7
2
7
2
7
2
7
Chapter T
TUNE 14 (CD TRACKS 19) I C
BjCff- (F#jG#-)
Hexatonic
,
AjB-
4 17
B-7
,
,
7
7
7
7
,
7
,
7
,
7
7
7
7
////
7
7
7
7
7
Z
,
Z
7
7
,
Z
7
7
,
Z
z z z z
Dorian
GjA- (DjE-)
A-7
4
7
7
7
7
G-7
7
7
7
7
I
Z
7
7
7
7
I
7
7
7
7
Z
Z
7
Z
,
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
7
7
7
7
I
Z
7
7
7
7
I
7
7
7
7
7
I
7
I
7
7
Dorian
(BbjC-)
4 4////I~/~ 7
,
(CjD-)
EbjF7
Z
Dorian
FjG-
25
7
F-7
41
,
-'
(EjF#-)
'r 7r 'z Z r7 T7 T7 Tz : lr
33
7
q-7 Dorian
Chord
9
"
7
7
7
7
I
7
7
7
I
7
I
Z
7
7
7
2
7
Z
7
7
7
Z
7
7
7
7
I
7
7
2
7
7
I
7
7
2
7
7
I
7
7
2
7
7
7
7
7
7
7
7
I
7
7
7
I
7
7
7
7
7
7
Dorian
DbjEb- (AbjBb-)
7
Eb-7
Dorian
7
7
I
2
7
7
7
7
7
2
7
7
I
7
7
7
7
Z
I
7
7
7
7
7
7
2
7
7
7
7
I
2
7
7
7
I
?
7
7
7
7
7
7
7
7
7
I
7
I
7
I
7
7
~
Chapter 7
TUI\JE 13 Hexatonic
~
e
9
7
7
7
D-7
C-7
17
Ab/Bb
7
7
7
7
7
7
7
I
7
7
7
7
Z
7
25
Gb/Ab- (Db/Eb-)
~
2
Ab-7
33
E/F~-
z
7
Z
2
7
~
F#-7
41
D/E
~
7
7
z
7
2
7
E-7
7
7
7
7
Z
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
f
7
7
2
2
7
f
2
f
2
7
2
7
7
7
7
7
7
f
2
f
2
f
2
7
7
7
7
7
7
7
2
7
2
f
2
7
7
7
2
Z
7
Z
7
Z
2
Z
7
Z
7
f
2
7
7
7
7
Z
Z
2
7
Z
2
Z
2
Z
Z
7
7
Z
2
Z
Z
2
7
7
7
Z
2
7
7
Z
7
Z
7
Z
2
Z
(Eb/F- )
Bb-7
7
7
Dorian
~
2
I B~
(F/G-)
~
7
18)
Dorian
B~/C7
TRACK
C/D- (G/A-) 2
Chord
(CD
z
2
Z
2
z
I
Z
z
f
7
7
Z
7
Z
7
7
7
Z
7
Z
7
Z
2
Z
2
7
2
Z
2
Z
2
7
2
Z
7
,
2
Z
7
Z
7
7
7
Z
7
Z
Z
Z
7
Z
7
Z
7
Z
7
Z
7
Z
7
Z
2
7
Dorian
7
Z
7
z
I
2
z
,
2
2
z
7
Z
7
7
7
Z
2
Z
2
7
7
7
2
Z
Z
Z
2
Z
7
Z
7
Z
7
Z
2
7
7
Z
2
Z
2
Z
7
Z
,
2
7
Z
7
7
7
Z
7
Z
7
Z
7
Z
2
7
Dorian
(B/O-) 7
z
7
z
I
7
z
2
,
7
7
7
Z
7
Z
7
,
2
Z
7
Z
7
Z
7
,
Z
Z
7
Z
7
, , 7
7
z
7
z
7
z
Z
,
7
z
7
Z
7
7
7
7
7
Z
7
7
7
Z
7
Z
7
7
Z
7
Dorian
7
(A/B-) 7
Z
2
z
Dorian
I
7
, , 7
7
7
7
7
7
7
7
Z
7
7
7
7
7
7
7
Z
7
7
7
Z
7
Z
7
,
2
7
2
,
2
7
,
2
7
Z
7
7
2
7
7
7
7
,
7
7
7
, , , 7 2
2
7
~
Chapter 7
b
, , , , ,
TUNE 14 (CD TRACKS 19)
B
7
7
17
25
33
41
7
7
7
E~-7
Chord
9
7
I
(A~/B~-)
m/E~-
Hexatonic
B~
Z
7
I
2
7
2
7
7
Z
2
7
2
7
7
7
7
, , 7
7
7
7
Z
Z
7
2
7
Z
7
2
7
2
7
2
7
7
7
7
, , , 7 Z
7
7
2
7
7
Z
2
7
2
,
7
2
2
7
Z
7
Dorian
B/O (F#/G#-) 2
7
Z
7
q-7
Z
7
7
7
7
B-7
7
Z
7
7
2
2
7
2
7
2
7
7
7
2
2
,
2
7
7
2
2
7
7
2
Z
,
2
7
2
7
7
2
2
7
2
7
2
7
2
,
2
7
7
7
2
7
2
,
7
7
7
,
Z
7
2
7
7
7
2
7
I
2
7
2
7
2
7
7
7
7
7
7
Z
7
,
2
7
,
7
7
7
7
,
2
7
7
7
2
7
2
7
2
7
7
7
Z
7
2
7
Z
Z
Z
,
2
7
2
,
2
7
Z
,
7
7
2
7
z7
7
7
2
7
I
Z
,
Z
7
Z
7
2
7
Z
7
Z
7
2
,
7
7
Z
7
7
7
7
7
2
7
Z
,
Z
7
Z
7
7
7
7
7
7
7
Z
,
Z
7
7
7
2
7
2
,
Z
7
I
Z
7
Z
Z
Z
7
2
7
Dorian
7
G-7 E~/F-
(C/D-) 7
7
2
7
I
Z
7
2
7
2
7
Z
7
Z
Z
2
Z
Z
,
7
7
7
7
7
7
,
Z
2
7
7
7
2
7
7
7
7
7
2
7
7
, , 7
2
7
2
7
2
7
2
,
7
7
7
7
7
7
7
7
2
7
Dorian
(B~/C- ) 2
F-7
7
7
(D /E-)
F/G 7
7
Dorian
A-7
Z
2
(E/F#-)
G/A 2
7
Dorian
A/B Z
7
Dorian
z
7
Z
2
7
Z
7
7
,
2
7
Z
Z
2
7
Z
Z
7
7
2
,
7
7
Z
7
7
7
7
,
7
7
2
,
Z
7
2
,
2
7
7
,
Z
7
Z
7
2
7
~
Chapter 7
TUNE 13 (CD TRACK 18) I E~ Hexatonic
~ 9
B
GjA- (D jE-) 7
Chord
7
17
E~jF-
~ 33
~ 41
~
2
7
7
7
7
7
,
7
,
7
7
7
7
,
q-7
7
7
7
7
B-7
7
7
2
7
2
7
I
Z
7
7
(A~jB~7
7
7
7
7
2
7
7
7
7
I
7
7
7
I
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
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
I
Z
7
7
7
7
7
7
I
7
7
7
7
7
7
Z
I
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
,
7
7
Z
7
2
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
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
Z
7
7
7
7
7
7
I
7
7
) 2
7
Z
7
Z
7
7
7
7
7
2
7
Z
7
7
7
7
7
2
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
7
7
7
7
7
7
7
Dorian (F#jG~-) 7
7
7
7
I
7
,
7
I
2
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
I
7
7
7
7
7
7
7
7
7
7
7
7
Z
7
7
,
7
7
Z
7
7
7
7
7
7
7
Dorian
(EjF~-)
AjB 2
I
(B~jC-)
BjG 7
7
Dorian
E~-7
7
7
(CjD-)
DbjE~7
7
Dorian
F-7
2
2
Dorian
FjG
G-7
25
7
A-7
~ ~
7
2
7
7
7
Dorian
I
7
7
7
,
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
2
7
7
7
7
7
2
7
7
7
Z
7
2
7
7
I
7
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
~
Chapter 8
TUNE 14 (CD TRACKS 19) I H
'n
Hexatonic
A~jB~-
c
rrrr. r r1 . 7r 7r 77
nnl
Chord B~-7
9
(E~jF-)
/
/
/
/
I /
/
/
/
7
Z
Z
7
7
Z
l~z~7~z~7~z~7§z~7~1 / / / / I~Z~7~Z~7~Z~7§Z~7~I~z~7~Z~'~~Z~7§Z~z~1
Dorian
G~jA~- (mjE~-) 7
7
z z z z
77771
7777
1
A~-7 Dorian
17
EjF#
(BjO-)
25
DjE-
(AjB-)
,
"" I zrz z rz rr rz rz
, 33
41
E-7
Dorian
(jD
D-7
Dorian
B~j(-
L
(GjA-)
(FjG-)
7r r7r71~17~7 r r71 r7r7r7r71~7~77~7~7~77~7 r r r r r ~7~7 r7~7~7~77~71 r r r r
(-7
7
.~
::~r
2
~r
7
Dorian
CHAPTER
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- jC
B-/C- can be played over C-7, A-7, AO, HO, F7, A~7, B7, D7 and BLi7. Of course, con text is everything! On some of these chords we are alloWing much leeway. For exam ple, when playing the B-/C- 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 q9 and the ~9. Pla)ed over E'7Li7, it sounds the q13, #5 and ~9. On HO, this hexatonic includes the :'13, : ]., and the 79. See a1so Chapter 9.
r7r7 r7 Z ztlEI
Chapter 8
B-/C
'\1' ,2~~
~~
,3~1'
,4~b~i~~~ ,5~b
,6~~§~
,7~~~~ ,8~1.
,9~1!
,';~
,':.
B-/C
~
, ,
2
£
t
'-
Chapter 8
I
i
B-/C
l2:
6
r
r
,2;~~~~~
I I
,2;~
,2;~
,2;6
I
,3;6
I
,3~~
I
,3;1'§~~
,~~~~~~
,3;~~~~~
'~6~~ ,3;~
~
-
. .
-.
B-/C
:~ ."
f4:1'~~~~
,4;,~~
f4:,§~
,4:b~~~ f4;1>~~
f4:b~~
f4:b~~ ,4;b~~
l:b ~ I'~~~~~
Chapter 8 B-/C
I
I
. .
B-/C
,6;1>
~.
,6:1>~~
00
,6;1>
,6;1>~
,6:1>~ ,6:1>~
l6;1> ,6;1> ~F~ri~rrEiij¥=£ ,6;1> ~ JiJ J JHWiJ J ~~ ,7;1> _ fJij~. ,]1~I>~rW===: ?,.~C~~
(e-)? f.;
-
-
=
,
~ j
Chapter 8
1,
B-/C
I
I
I
I I
I
I
Chap!
E-/F
I I!
II
-
...J..I.
~
8
.
Chapter 8
A-lBb
~~~~
,2~"1'~~~~ ~~~
~~~
~~~
~~~
I
'~"b~
1
,8~b&~ 1
,9~bb~
I
~;~~
I
"~IV -I
$';bb~ ~EEEt!$~Pr r ~ r ~ J ::: I'
t.
:
I
!
-
Chapter 8
D-/Eb
II
--4
~ 1
~
----,
ChapterB
G-/Ab-
I
I
I
I
I
I
I
I
I
c-/c#
t.
_ _ _ _ _ _--=chapter 8
Chapter 8
F-/H
I
I
I
I
Chapter 8 B&-/B
Chapter 8
H-/E
I
I -'.
-
t
Chapter 8
GP-/A 1
'j~
2
'j~ ~3j~
,4j~J~
Chapter 8
C#-/D
"
~
,3
~J~ ,5~
§~~I
'~I
Chap!
_~
F/I-/G
~,~~ 11
12
--+,.
#
.....
J ..-... ~
-
I
ChapterB
DE CENDING GRID: B-/CTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes.
,
B-/C-
C-/o-
0-/0-
O-/Eb-
Eb-/E-
E-/F-
F-/F#-
F#-/G-
G- / Ab-
Ab- / A-
A- /Bb-
Bb- /B
tJ
, ~
tJ
)
I
~
4)
'" tJ
1\
tJ EXAMPLE
B-/C
c-/o
EXAMPLE
B-/C
using the same melodic phrase from each starting note of the grid. 0-/0
O-/Eb-
using different melodic phrases from each starting note of the grid. c-/o
0-/0
O-/Eb-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter
ASCENDING GRID: B-jCTry playing 8 notes of any hexatorllc melody using the notes of the grid as starting notes. B-jC-
B~-jB-
A-jB~-
A~-jA-
G-jA~-
F~-jG-
F-jn-
E-jF-
Eb-jE-
D-jEb-
O-jD-
II
U
-e-
v'U'
v'U'
)
)
,
I
U
II
U
'U'
'U'
, U
'U'
EXAMPLE
B-jC-
EXAMPLE
,
B-jC-
'U'
using the same melodic phrase from each starting note of the grid. B~-jB-
A-jB~-
A~-jA-
using different melodic phrases from each starting note of the grid. B~- jB-
A- jB~-
A~- j
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
A-
C-jC-
ChapterS APPLICATIONS
Try using this hexatonic on tunes 6, 7, 9 and 10.
TUNE 6 (CD TRACK 11) I C (G-/Ab-) O-jD
;B
, , 5
9
2
7
O-jD2
7
2
,
7
,
7
7
I
D-7
2
(F-/F~-)
B-jC-
(E-/F-) 7
2
7
7
7
B-jC-
,
7
I
2
7
7
7
2
7
I
C-7
G7
2
(O-/Eb-)
7
2
7
A-jBb
2
7
2
7
7
7
2
7
7
7
Bb-7
(0-/0-)
G-jAb-
(C-/O-) 2
7
7
7
2
7
I
7
2
G-jAb-
2
7
2
7
2
7
I
Ab-7
Eb7
2
7
(Bb-/B-) 2
7
2
7
F-jF# 2
7
2
Z
2
7
2
7
2
7
Eb-jE-
2
7
I
,
Eb-jE-
,
Z
7
2
7
2
I,
7
7
E-7
B7
F#-7
Z
2
7
(A-/Bb-)
(Ab-/A-)
/
,
Db?
(B-/C-) F- jF~-
»7
F7
(Eb-/E-) A-jBb
7
2
(H-/G-) 7
2
2
7
Z
7
~
A7
TUNE 7 (CD TRACK 12) I C (Ab- / A-) D-jEb-
D-jEb
'0
, , 5
9
2
7
2
7
2
Z
Z
7
I
Eb-7
2
7
2
(F~-/G-)
C-jO-
(F- /F~-) 7
2
7
2
7
I
2
7
C-jO2
,
7
7
Z
7
I
q-7
Ab7
2
7
(Eb-/E-) 2
7
Bb-jB-
2
z
2
7
,
Z
2
7
B-7
I
7
2
7
2
7
,
Ab-jA-
7
I
Z
7
2
Ab-jA7
2
7
2
7
I
A-7
E7
,
7
(B-/C-)
2
7
F~-jG-
2
7
G-7
7
7
2
7
2
7
,
7
C7
2
(A-/Bb-) 7
7
7
2
7
2
,
7
7
D7
(C-/O-) F~-jG-
7
2
(O-/Eb-)
(0-/0-)
,
Z
F#7
(E- /F-) Bb-jB
7
(Bb- /B-) E-jF-
,
Z
F-7
E-jF2
7
2
7
2
7
I
2
7
Bb?
(G-/Ab-) 2
7
2
7
7
7
~
TUNE 9 (CD TRACK 14) I C
'I! , , 5
E-/F
E-/F 2
7
Z
,
7
7
2
7
C-/O
7
7
7
7
I
7
7
7
(Eb-/E-)
C-/O 7
7
7
7
7
7
7
7
7
7
Z
7
7
2
7
2
7
7
Z
7
Z
7
7
7
7
7
Z
2
2
7
2
7
7
Z
Z
F7 b9
Bb-/B
Bb-/B
Z
7
7
7
7
7
7
7
2
7
7
C
(F- /F#-) 7
C0
7
Z
7
Z
Z
(O-/D-) 7
Z
7
7
7
Z
Dpb9
F#-/G
(B-/C-)
B7 b9
F#0
7
D-/Eb-
Ab 0
Ab-/A
Ab-/A z
Z
Z
Epb9
Bb 0
7
7
D-/Eb
G7 b9
D0
Z
9
7
(G-/Ab-)
F#-/G 2
7
7
Z
7
Z
7
Z
(A-/Bb-) 7
7
7
Z
7
~
7
A7 b9
E0
TUNE 10 (CD TRACK 15) I C
'B
, , 5
9
Z
7
7
z
7
7
7
Z
Z
7
7
7
7
7
7
A-/Bb 7
G0
7
7
7
7
Z
7
7
Z
(E-/F-)
Z
Z
7
7
7
2
7
2
Z
C7 b9
2
7
7
Z
7
z
I
7
B-/C
Z
7
7
7
7
7
7
7
7
7
7
Z
7
F0
7
Z
Z
7
7
7
7
(D-/Eb-)
B-/C 7
7
2
7
7
Z
2
I
7
7
Z
/
7
z
D7 b9
G-/Ab
(C-/O-)
Z
(F#-/G-)
F#7 b9
A0
A-/Bb7
7
Eb-/E
(#0
E7 b9
B0
7
2
O-/D
O-/D 7
7
Eb- /E
Ab7 b9
H0
2
(Ab-/A-)
F-/F#
F-/F#
7
(Bb- /B-)
G-/Ab 7
2
Z
7
Z
7
7
Bpb9
2
7
7
Z
7
7
~
Chapter 8
TUNE 6 (CD TRACK 11) I Bb
~
(A-jB~-)
E~-/E-
E~-/E-
'n
, 5
7
7
7
7
7
7
7
7
I
7
E-7
(G-jA~-)
(F#-jG-)
7
7
7
7
7
7
O-/D 7
7
I
7
7
7
7
7
7
7
I
D-7
A7
(E- jF-)
O-/D 7
7
Z
7
7
7
7
7
7
7
7
7
I
C-7
7
7
7
7
7
7
A-/B~7
7
7
7
I
A-/B~7
7
7
7
7
7
7
I
Bb-7
F7
7
(C-jG-)
7
7
G-/A~-
G-/A~7
"
7
7
7
7
7
7
7
I
Ab-7
7
7
7
7
7
7
7
7
7
(B-jC-)
(B~-jB-) 7
7
Eb?
(G-jD-) 9
7
(E~-jE-)
(D-jE~-)
B-/C-
7
G7
(F-jF#-)
B-/C-
7
7
F-/F#7
7
7
7
7
7
7
7
7
7
Fn- 7
Db?
(A~-jA-)
F-/F#7
7
7
7
7
7
7
~
B7
TUNE 7 (CD TRACK 12) I Bb (A~- j
(B~- jB-)
'B
, , 5
9
7
7
7
7
7
7
7
7
7
I
F-7
D-/E~-
(G-j A~-)
E-/F-
E-/F-
7
7
7
7
7
7
7
7
I
7
D-/E~7
7
7
7
7
7
Eb-7
BP
7
I
7
(F- jF#-)
7
7
Z
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
7
Fn 7
(#-7
7
7
B~-/B-
7
7
7
7
7
7
I
B-7
A~-/A-
7
7
A-7
7
7
7
7
7
7
Z
7
D7
7
7
7
7
7
7
7
7
7
7
7
7
7
,7
E7 (C-jG-)
F#-/G-
(B-jC-)
7
(G-jD-)
(D-jE~-)
A~-/A-
7
(E- jF-)
B~-/B-
(E~- jE-)
C-/O-
7
Ab?
(F#-jG-)
C-/O-
A-)
7
7
G-7
7
7
F#-/G7
7
7
7
I
7
7
C7
7
(A-jB~-)
7
7
7
7
7
1
Chapter 8 TUNE 9 (CD TRACK 14) I Bb
F~-/G-
~e 5
~ 9
~
7
7
2
F~-/G7
7
Z
2
Z
7
D-/Eb-
D-/Ebz
7
7
7
Z
Z
7
7
2
7
7
7
(F-/Gb-)
,
Z
7
I
Z
7
7
7
7
7
2
7
7
Z
7
7
G~0
2
Z
7
7
Z
Z
I
2
7
2
Z
C-/Db-
2
7
Z
b9
7
C-/Db7
7
7
2
7
7
7
7
7
Z
7
Z
7
7
7
(Eb- /E-)
2
7
7
I
7
7
Eb7 b9 Ab-/A-
Ab-/A7
z
G7 b9
Z
(O-/D-) 2
CF
z
Bb 0
Bb-/B-
Bb-/BZ
7
E-/F- (G-/ Ab-)
D0
pb9
C0
7
7
E-/F-
A7 b9
E0
2
Z
(A- /Bb-)
7
7
7
7
7
2
7
7
(B- /C-)
7
7
7
7
2
7
B7b9
F#0
~
TUNE 10 (CD TRACK 15) I Bb
G-/Ab-
G-/Ab-
~e 5
1 9
~
7
7
2
z
7
7
Z
Z
7
Eb-/E7
Eb-/E7
Z
2
7
2
Z
B-/C7
A0
7
7
7
2
7
7
(F#-/G-) Z
7
2
7
7
7
F#7 b9
q0
7
7
F-/Gb7
7
I
7
2
Z
7
Z
2
7
D7 b9
2
Z
2
7
7
7
(D-/Eb-) 7
7
2
Z
7
(Ab-/A-)
7
2
Ab7 b9
O-/D-
O-/D-
7
7
7
7
2
7
7
7
I
7
7
G0
2
7
Z
7
7
2
7
(E-/F-)
7
7
2
7
7
7
E7 b9
A-/Bb7
7
I
B0
B-/C7
7
F-/Gb-
Eb0
Bpb9
F0
7
7
(Bb-/B-)
A-/Bb7
7
2
7
7
7
I
7
z
C7 b9
(C-/Db-)
7
7
7
7
7
Z
~
Chapter 8 TUNE 6 (CD TRACK 11) I Eb
(O-/E~-)
(E- /F-)
fe
B~-jB-
B~-jB7
7
7
7
7
7
7
7
Z
B-7
7
7
Z
7
A~-jA-
A~-jA-
(G-/0-) 7
7
7
7
I
7
7
Z
7
7
2
7
I
A-7
E7
7
7
(B-/C-)
Z
7
f
F#-jG-
F#-jG Z
7
7
7
7
7
Z
7
I
G-7
7
7
Z
7
7
E-jF
Z
7
7
7
E-jF2
7
7
7
7
7
I
F-7
C7
f
D-jE~-
D-jE~2
7
2
7
7
7
7
7
I
7
z
7
7
7
Z
Z
2
7
Z
7
Z
Bb?
C-jOZ
2
I
Z
z
C-jO2
7
2
Z
7
z
I
q-7
Ab?
E~-7
7
(F#- /G-)
(F-/F#-) 2
7
(G-/A~-)
(A~-/A-)
9
2
(B~- /B-)
(A-/B~-)
7
7
D7
(C-/G-) 5
7
7
z
(E~- /E-)
z
7
7
z
7
z
FF
TUNE 7 (CD TRACK 12) I Eb (E~- /E-)
(F-/F#-)
B-jC
B-jC
f I~
Z
,7
7
2
7
7
7
2
C-7
A-jB~-
(O-/E~-)
7
7
7
2
7
2
7
I
Z
7
A-jB~7
7
7
7
2
7
I
7
7
7
f
G-jA~2
7
2
G-jA~7
2
7
2
7
I
2
7
2
F-jF#
(B~-/B-) 7
2
7
7
2
I
7
7
F-jF# 2
7
2
7
2
7
I
7
7
(A~- / 7
7
(A-/B~-)
9
f
E~- jE
E~- jE 2
7
E-7
2
7
2
7
7
7
2
7
A7
(F#-/G-) 7
7
7
7
7
7
7
7
A-)
7
7
B7
F#-7
Db?
A~-7
7
(B-/C-)
(G-/0-) 5
7
7
Eb?
B~-7
F7
7
(C-/Db-)
(G-/A~-)
O-jD 7
7
D-7
2
7
O-jD7
7
2
7
I
Z
7
G7
7
(E-/F-) 7
2
7
2
7
7
~
Chapter 9 TUNE 9 (CD TRACK 14) I H
G- jD- (E- jF-)
G-jD-
'B
, , 5
9
2
,
7
7
2
7
2
,
7
7
7
I
7
7
I
7
7
7
2
7
2
7
7
2
Z
7
2
7
2
7
2
C7 b9
G0 F-jG~7
7
2
7
2
I,
7
(A~-j A-)
,
7
7
'B
, 5
9
l
2
7
7
Z
7
2
7
Z
7
I
7
2
7
7
B~- jB7
2
,
7
7
2
7
I
7
7
2
7
2
7
2
7
Z
7
7
Z
7
2
7
7
I
Z
7
2
7
7
I
(A-jB~- ) 7
7
7
7
2
7
7
2
7
2
7
2
7
,
7
2
7
7
2
7
5 #9
7
Z
7
7
2
7
2
7
7
7
2
7
I
2
7
7
7
~
7
2
(E~- jE-)
7
7
7
2
7
7
7
Epb9
A~-jA-
Z
7
2
7
7
7
I
7
7
B7 b9
E-jF-
E-jF-
7
(F~-jG-)
C-jD~-
7
7
Z
7
D0
Z
7
I
Z
7
G7 b9
D jC-
~,:;g.~~t
7
I E~
The next hexatonic is a major triad over a minor triad a whole step apart.
DjC
2
7
CHAPTER 9
EXAMPLE:
7
F~7b9
7
7
7
F~0
Z
7
(B~-jB-)
E~-jE-
,
Z
7
2
G-jA~-
A~-jAZ
7
Bpb9
7
I
(G-jD-)
A7 b9
E0
7
Bb 0
F~-jGZ
2
C-jD~-
Dpb9
F~-jG7
7
B~-jB-
Ab 0
2
(F-jG~-)
Fl b9
C0
2
2
7
q0
D-jE~Z
7
D7~9
2
TUNE 10 (CD TRACK 15) D-jE~-
7
E~- jE-
Apb9
Eb 0
2
F0
F-jG~2
7
G-jA~-
(C-jDb-)
(D-jE~-)
B-jC-
A0
A-jB~-
A-jB~-
2
,
7
E7~9
B0
2
7
B-jC-
§
ThiS hexatonic fits over all of the same chords, that work for B-/C-. It can be played o,"er C-7, A-7, A0, H0, F7, A~7, B7, D7 and HLl7. See also Chapter 8.
7
(B- jC-)
7
2
7
2
7
(G-jA~-) Z
7
2
7
Z
7
~
Chapter 9
D/C
"~I'_~
,2~1'~~~~~
13~~
,4~b~~~ 15~b ,6~~
,7~~~~Fpr ,8~1!
,9~~~ ,';~
"~I! ,';~
D/C
II
--I. ~
_ _ _ _ _----=chapter 9
Chapter 9
D/C
~2:1,
,2;b~~~~ ~2;1'
,2:1, ,2:b~
,3;1, ,3~1,
~3:1,~~
~3:1,~~~~
,3;1,~~~~,
,3:1, ~ ,~I, gF r t §§==# 6
3
8
r "b r r~~~.~ ~
Chapter 9
D/C 37
w,'~
?~V ~'
~ J 00 J ij = L r~ =,..-~ • \..-.-.-r_.... E5J G q- r ! ..... J
I.. l
f
38 I,
$&b
I:
39
$&1. 4°
$&1> 41
$&1. 42
$ &b
~J~Ja~~~
hi frt rrtrmrtrJUD~~
~ JJ1WJttfFrtOUFtl4~~
§~
43
$&1' _tJJJH»rmrnrlUu~~
44
$&1> 45
$&b
~~
~ UW vlJI#lumur~~
46
$F~~~
~
~f,
$4;I'~~
$4:b~~
Chapter 9
D/C
,4:._#_ ~~~ ,5~.~~
,5;'~~g~~
'~f,~II~
,5;.
,5:'~1
,5;'~_1
,5:1'~'
,5;1, ,~. E F :a
___.
• •
Chaptt?1" <}
D/C
Chapter 9
D/C
~\~
I'
~2~b~~~ ~3~b
~4~~~ ~5~b ~6~b ,~~
~8~b
i
~9~b
~'~I'
~':~
&'~b ~ F ~ ~ r¥~ ~ ~ ~ r ~ ~!I. j"+ij : ..; :; I
0: __
GIF
~j~~""~
~
--
C.1pter 9
C/Bb
~~~~
~\I,"~~~~
~~~ ~4~I!b~
~~~ ~~~ ~ ~ ~
[J
~~bl!~
I
~~~
I
~9~1,"~
I
~;~~
I
~'~bl!~~
I
&';b?~ f ~f~[ r m
f'"
~ ~ 2w:l .-:
!
I
r ~.
Chapter 9
F/Eb
1
,~~~~~~
Ii
Chapter 9
Bb/Ab 1
, ~1'6~~b
,2~b6~~b ~l~
~
.
!
:1
Chapli
E&/C#
II
II I:
II
1'1
I,
Chapter 9
Ab/H
I · ··
~I
~--
,
Chapter 9
C#/B
II
II
II II
, , 1
Chapter 9
F#/E
,'III ,21111~~
,\ ,\~~
'\1
'\1
$11
11
,\ ----=
,'#~
"~II
,'jll
~
I'll-
r
r ~II •• ~~ i 8.:
-B/A-
I"
t
4 4 4 7
8
4 4 1
9
1
10
Chapter 9
chapter9,
_ E/D
I
I
Chapter 9
A/G
Chapter 9
DESCENDING GRID: DjCTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. DjC-
E~jC#-
EjD-
FjE~-
F#jE-
GjF-
A~jG~-
AjG-
B~jA~-
BjA-
CjB~-
GjB-
II
It....,
fJ
II
~
fJ
II
fJ
v~
v~
l'
II
fJ
I
f..
l'
EXAMPLE
E~jC#-
DjC-
EXAMPLE
DjC-
using the same melodic phrase from each starting note of the grid. EjD-
FjE~-
using different melodic phrases from each starting note of the grid. E~jG-
EjD-
FjE~-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
....,
Chapter 9
ASCENDI G GRID: DjCTry playing 8 notes of any hexatomc melody using the notes of the grid as starting notes. DjC-
OjB-
CjB~-
BjA-
B~jA~-
AjG-
A~jG~-
GjF-
F~jE-
FjE~-
EjD-
~
-e
0
~-e-
Ii'~
E~jG-
l+~
II
tJ
u
tJ
" v
U
~
II
tJ
v
-e
II
tJ
~
EXAMPLE
, ,
DjC-
EXAMPLE
DjC-
~
using the same melodic phrase from each starting note of the grid. OjB-
Cjm-
BjA
using different melodic phrases from each starting note of the grid. OjB-
CjB~-
BjA
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
~
~
Chapter 9 APPLICATIONS
Again, try using this hexatonic on tunes 6, 7, 9 and 10. TUNE 6 (CD TRACK 11) I C (Bb/Ab-)
;ll
7
7
7
7
2
7
7
7
I
D-7
7
D/C
(G/F-)
E/D
E/D
(Ab/F~-)
7
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
I
C-7
G7
(F/Eb-)
D/C 7
7
Z
7
;
C/Bb 7>
2
7
7
7
7
7
I
B~-7
,
7
7
7
7
7
Bb/ Ab7
7
I
7
7
Bb/Ab 7
2
7
7
7
7
I
A~-7
EP
7
(G/B-)
7
2
7
;
Ab/F~7
7
Ab/F# 7
7
7
7
7
7
2
7
7
7
7
F~/EZ
7
Z
7
F~/EZ
7
7
7
7
7
I
7
E-7
B7
F#-7
7
7
7
(C/Bb-)
(B/A-) 2
7
DP
(O/C-) 9
7
7
(E/O-)
(Eb/G-)
C/Bb
7
F7
(F~ /E-)
5
7
7
(A/G-) 7
7
7
7
7
II
7
A7
TUNE 7 (CD TRACK 12) I C (B/A-)
;e
F/Eb 7
7
2
7
7
7
2
7
,7
I
Eb-7
(A/G-)
(Ab/F#-)
F/Eb7
7
7
Eb/O
7
2
7
I
7
7
Eb/O 7
7
7
7
7
7
q-7
AP
7
I
(F~ /E-)
7
7
7
;
C~/B-
Cn/B 2
7
7
7
7
7
2
7
I
B-7
7
7
7
7
B/A
7
7
7
I
7
7
7
7
2
7
2
7
I
A-7
E7
7
7
2
7
;
7
7
G-7
Z
7
7
7
7
7
Z
7
C7
7
7
2
7
2
2
7
2
7
D7 (G/B-)
(C/Bb-)
A/G
A/G
7
(O/C-)
B/A
(H/G-) 9
7
(F/Eb-)
(E/O-) 7
7
F#7
(G/F-) 5
7
G/F 7
7
7
F-7
(Bb/Ab-)
G/F 7
7
2
7
Z
7
I
7
7
BP
7
7
2
7
7
7
~
Chapter 9
TUNE 9 (CD TRACK 14) I C
'e , , 5
9
GjF
GjF
,
7
7
,
7
7
7
7
7
EbjO 7
7
EbjO 7
7
7
7
Z
7
7
7
7
7
7
7
7
(F#jE- ) 7
2
7
7
7
7
7
2
7
2
7
2
7
I
7
2
7
7
7
7
7
7
7
OjB
OjB
7
7
7
7
2
2
7
2
2
7
2
7
2
7
7
7
(AbjF#-)
7
F7 b9
7
7
7
2
7
7
(EjD- )
7
2
7
7
7
7
7
Dpb9
AjG
(DjC-)
B7 b9
F~0
7
Ab 0
BjA-
BjA
FjEb
C0
2
Epb9
Bb 0
7
,
7
G7 b9
D0
7
FjEb
(BbjAb-)
AjG 7
7
7
7
7
2
7
2
(CjBb-) 7
7
7
2
2
~
Z
A7 b9
E0
TUNE 10 (CD TRACK 15) I C
'!l , , 5
9
AbjFn
AbjF# 7
7
2
7
2
7
2
7
2
EjD 7
2
7
7
7
7
7
G0
7
7
7
2
7
7
2
7
2
7
7
2
7
2
7
2
7
C7 b9
2
7
7
7
2
2
7
2
7
I
(EbjO-) 7
7
7
2
7
7
Z
7
7
t
2
7
F0
7
7
DjC 2
7
2
7
2
2
7
2
7
7
2
(F jEb-)
7
2
7
2
7
Z
7
D7 b9 BbjA~-
BbjAb 7
7
F#7 b9
A0
CjBb 2
7
DjC
(GjF- )
(AjG-)
F#jE
q0
E7 b9
CjBb 7
2
EjD
B0
2
7
Apb9
Eb 0
2
FnjE
(BjA-)
2
7
2
7
Z
7
2
7
Bpb9
(GjB-) 2
7
7
7
2
7
~
Chapter 9
Try using this hexatonic on tune 11 as it sounds the #9 b5 and 13 of the chords. I
TUNE 11 (CD TRACK 16) I C E~/O-
, (!
2
7
C/Bb2
7
7
7
7
7
I
E~~5
, , 5
9
B/A 2
7
7
7
7
7
2
7
7
7
7
Z
7
2
7
I
7
7
2
7
Z
7
7
7
I
2
7
q~~5
D~~5
B~~5
A~/F#-
A/G
F#/E
2
I
7
B~/ Ab
O/B
7
2
7
7
7
7
7
I
2
7
2
7
2
7
2
7
2
A~~5
B~~~5
G~~5
G/F
E/D
F/E~-
D/C
2
7
2
7
2
7
2
7
Z
I
A~~~5
7
7
7
7
7
2
7
I /
F~~5
7
7
Z
G~~~5
7
2
7
I2
7
7
C~~5
7
.
7
7
7
7
Z
7
2
7
7
7
2
7
2
2
7
E~~~5
The hexatonic from Chapter 8, "minor over minor a half step apart," can also be played in this context over a major 7b5 chord. EXAMPLE:
,
C-jG-
PLAYED ON E~n5
C-/O 13
n... E~~5
3
~-
B
#5
/17
q
~-
~9
g
7
7
~
Chapter 9
TUNE 6
~{j 5
~ 9
~
7
7
7
7
7
~
7
7
E-7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
2
7
7
7
7
7
I
A~-7
7
7
7
7
7
2
~ 9
~
2
7
7
7
7
7
F-7
7
7
7
7
7
7
I
q-7
7
2
7
I
(CD
7
7
2
7
2
7
7
7
7
7
Z
7
7
A-7
7
5
~
9
7
7
7
7
7
2
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
7
7
G~0
7
7
7
7
7
7
(CD
7
7
7
7
7
7
7
2
7
7
7
7
7
I
7
7
7
7
7
7
I
7
7
7
7
7
2
7
2
7
7
7
I
C~7~9
7
7
7
7
7
7
7
7
(D jC-) (BjA-)
7
7
7
7
7
7
~
7
(BjA-) (AbjGb-)
2
7
2
7
7
7
2
7
AP
7
7
7
7
7
7
7
I
7
7
7
2
7
7
7
2
7
I
7
7
7
7
7
7
7
(EbjO-) (CjBb-)
7
7
7
7
7
7
7
Il
7
I B~ (B~/A~-)
G/FZ
7
7
7
7
7
7
7
2
I
G7~9
7
Eb/m7
7
7
7
7
7
7
I
7
7
7
7
7
(F#/E-) 7
7
7
7
7
7
EP~9
B/A7
7
C7
7
7
7
A/G7
7
7
E7
7
7
(EjD-)
C#/B-
Eb/m-
(E/D-) 7
7
F/Eb-
B~0
7
7
I B~
G/F-
(A~/G~-) 7
7
B7
D0
2
7
7
(EjD-) (EbjO-)
Ab/F#-
7
TRACK 14)
(C/B~-)
C#/B-
C#/B-
7
2
A/G-
F7~9
C0
2
7
7
G-7
F/Eb7
7
C#/B-
A7~9
7
7
B-7
7
E0
7
7
7
7
EP
7
TRACK 12)
7
(GjF-)
(FjEb-) (DjC-)
A/G-
F/Eb-
& u
2
7
I
C/Bb7
7
I
D7
A/G-
7
E~-7
TUNE 9
~{j
7
7
(AjG-) (F# jE-)
B/A2
7
F/Eb-
F#7
B/A7
7
7
Ab/F#-
(OjB-) (BbjAb-)
Eb/C#2
7
G7
7
7
BP
Eb/C#7
7
I
7
F#-7
G/F-
7
7
B~-7
(EjD-) (DbjB-)
TUNE 7
5
I
DP
G/F-
7
C/Bb-
7
(BbjAb-) (GjF-)
E/D-
D-7
m/Ab7
2
7
I
F7
B~/ Ab-
~P
7
(Ab-jFH (FjEb-)
D/C-
C-7
7
,
7
I B~
E/D-
A7
D/C7
2
I
TRACK 11)
(CjBb-) (AjG-)
F#/E-
F#/E-
(CD
B/A7
7
7
7
7
7
(D/C-)
I
i
7
=,0 ~
7
7
7
7
7
7
7
I
Chapter 9
TUNE 10 (CD TRACK 15)
~
'e , , 5
9
B~/ A~-
B~/ A~-
,
7
2
7
2
7
7
7
7
F#/E7
7
2
7
2
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
FF~9
7
7
7
2
7
7
7
Z
7
7
7
7
7
2
7
2
7
7
7
2
7
7
2
7
E/D7
7
7
(B/A-) 7
7
7
7
AP~9
7
7
7
7
7
2
(G/F-)
7
2
7
7
7
7
7
E7~9
c/m-
(F/E~-)
D7~9
A0
7
B0
D/C-
D/C-
Z
E/D-
(A/G-)
7
2
7
A~/G~-
E~0
F#/E-
q0
2
2
BP~9
F0
2
A~/G~-
(C#/B-)
7
I B~
c/m2
7
7
7
7
7
7
7
(E~/m-)
7
7
7
7
2
~
7
C7~9
G0
Try using this hexatonic on tune 11 as it sounds the #9,
~5
and 13 of the chords.
TUNE 11 (CD TRACK 16) I B~
'e , , 5
9
F/E~7
7
2
7
2
7
7
7
C#/B7
2
7
7
7
2
2
I
7
I
7
2
7
7
7
7
7
7
I
7
E~L'l~5
EL'l~5
B~/A~-
B/A-
F#L'l~5
2
E~/C#-
D/C-
2
7
7
7
7
7
2
7
I
2
7
DL'l~5
BL'l~5
CL'l~5
A/G-
F#/E-
G/F-
7
7
B~L'l~5
7
7
7
7
2
7
I
7
7
7
7
7
7
7
7
GL'l~5
See also the note on page 242.
I
7
7
A~L'l~5
C/B~7
7
7
7
7
7
2
I
7
7
7
7
7
7
7
qL'l~5 A~/F#7
7
7
7
7
7
I
7
7
7
7
7
7
7
7
AL'l~5
E/D 7
7
7
7
7
7
I
7
7
FL'l~5
7
7
7
7
7
7
~
Chapter 9 TUNE 6 (CD TRACK 11)
G/B
G/B
,
jj
, , 5
9
2
7
I
7
7
7
2
7
7
B-7
7
7
2
7
2
B/A
7
7
7
I
7
(EbjG-) (CjBb-)
A/G 2
7
7
7
7
7
7
7
G-7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
G/F
G/F
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
I
7
7
7
7
Eb-7
7
2
7
2
7
7
7
7
2
7
(AjG- )
(AbjF~- )
F/Eb
2
BP
(BjA-) F/Eb
7
7
(OjB-) (BbjAb-)
7
7
I
F-7
C7
7
I
07
2
I
(FjEb-) (OjC-)
B/A
A-7
E7
A/G 7
(GjF-) (EjO-)
I E~
Eb/G
7
7
2
I
7
Z
7
7
7
7
7
I
C~-7
AP
(F~jE-)
Eb/G Z
7
7
7
7
2
2
~
7
F#7
TUNE 7 (CD TRACK 12) I H
O/C
'B
, , 5
9
7
7
7
7
7
7
7
7
7
C-7
7
7
7
7
2
C/Bb-
7
7
7
I
(EjO-) (OjB-)
Bb/Ab2
7
7
7
2
7
I
Ab-7
7
7
7
7
2
2
7
7
7
7
7
7
7
7
I
2
7
I
OP
2
7
7
7
F~/E-
7
7
7
7
I
7
2
7
7
E-7
7
(AjG-) 7
7
2
7
2
7
I
A~/F~-
7
7
7
7
7
7
7
I
7
7
F~-7
B7
E/O
E/O
2
7
2
7
2
7
7
7
I
0-7
A7
7
2
7
(OjC-) (BjA-) 7
7
2
7
7
7
2
7
(BbjAb-) (GjF-)
(CjBb-) F~/E-
2
EP
A~/F~2
(F#jE-) (EbjG-)
C/Bb-
Bb-7
F7
Bb/Ab 7
(AbjF#-) (F jEb-)
O/C
7
7
2
7
2
~
7
G7
TUNE 9 (CD TRACK 14) I H E/O
E/O
'B
, , 5
9
2
7
7
7
7
7
2
7
7
I
7
B0
E7 b9
C/Bb
C/Bb-
Z
7
2
7
Z
7
2
7
I
= _C -
7
7
7
7
(E~/G-) Z
7
7
7
7
7
7
7
I
7
2
7
I
7
7
AJ7~9
7
I
7
O/C
7
2
7
2
7
7
7
I
Z
7
7
7
2
7
7
7
07 b9
Bb/ A~-
Bb/ A~-
2
7
7
7
2
7
7
7
I
Z
7
0 0
7
7
7
7
7
2
7
(G/B-) 7
7
7
7
2
7
Bp b9 F~/E-
F#/E
(B/A-)
7
(F/Eb-)
A0
F0
A~/G~-
A~/G~7
7
2
C7 b9
G0
7
7
O/C
(G/F-)
7
7
2
7
2
7
I
7
7
(A/G-) 7
7
7
7
2
~
7
F~7b9
-
;
Chapter 9
TUNE 10 (CD TRACK 15) I Eb
~
'e , , 5
9
F/Eb 7
7
7
7
7
7
7
7
7
Db/B 7
Z
7
I
7
7
7
Z
7
7
7
7
7
7
7
7
(E/O- )
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
(C/Bb-)
7
7
7
7
2
I
7
Z
7
7
2
7
7
7
I
B/A
7
7
7
(F#/E-) 7
7
2
7
Epb9
7
7
7
Z
7
Z
(O/C-)
7
7
7
7
7
7
7
B7b9
G/F
A7 b9
E0
7
F~0
A/G 7
7
B/A
Opb9
A/G
7
Bb 0
Db/B
Ab 0
7
7
E~/Db-
Eb/Db
pb9
C0
7
(Ab/Gb- )
F/n
(Bb/Ab-)
G/F 7
7
7
7
7
7
I
7
7
7
7
Z
7
7
~
7
G 7b9
00
Try using this hexatonic on tune 11 as it sounds the #9, b5 and 13 of the chords. TUNE 11 (CD TRACK 16) I Eb
'e , , 5
7
7
7
7
7
7
7
7
I
qL'lb5
7
7
7
7
7
7
7
7
7
7
7
F~L'lb5
E/O
G/B
7
FL'lb5
2
7
2
7
7
F/Eb
AL'lb5
7
Bb/ Ab-
BbL'lb5
Ab/F# 7
9
A/G-
C/Bb
7
7
7
7
7
7
I
7
7
7
7
Z
7
7
7
-
7
7
7
7
7
7
7
7
Z
AbL'lb5
F#/E
Eb/G
7
7
7
7
2
7
7
7
I
7
Z
7
Z
Z
0L'lb5
7
Z
EbL'lb5
7
7
Z
Z
7
7
7
7
7
7
7
7
EL'lb5 B/A
O/C Z
7
BL'lb5
GL'lb5
See also the note on page 242.
, - -.
7
G/F
7
7
Z
7
7
7
I
7
7
CL'lb5
2
7
7
Z
I
7
7
7
Chapt r 10 CHAPTER 10
The next hexatonic is a two minor triads a tritone apart. It fits well over diminished chords or dominant chords that are being played with diminished scales. EXAMPLE:
F#-jC-
F#-jC
~~~1I:j~,~I~rnf(u§ B For example, the hexatonics H-IC- or £1,-1A- can be played over a G diminished chord or a C7 chord. EXAMPLE
Eb-jA
F#-jC /17
~
*
9
#*
#
11
II
q07
~s
- -
F#- jC 1
~
*
C7
~13
b13
-
I
~13
~-
/17
-
9
I
3
-
11
j
Eb-j A ~9
b
~9
#
~11
tl
5
13
- -
13
I
-
~7
~.
-
~9
I
3
-
~11
j
Chapter 10
H-/C
"
~I,
,2~b ~~fJiDr
,\1, ,4~1!~~~~~
,5~b
,6~b
'~I!~~ ,8~1,
,9~1!~gg 'O~~jj~~~~
'~I,-
"~b ,'~I, ~ ~r F!f JiBB.~
,... Chapter 10
F#-/C
t
•
t. 22
~,,~~
~
L
.. 23
," J j
*
J ~J ~~ j j J ; ~j j 3 tl:.:Ef E r*Hr r
Chapter 10
H-/C
,':1,
";I'~#~~~
,';1,
,';1,
,';.
.
,3;~~~~~~~
,3~~
3'~~~
'~',~~
,3;~~~~~~
,3:. ,3;~~: ~
_ _ _ _ _ _ chapter 10 H-/C
,3;~
,3;. ,3:~~~ ,4:.~~ ,4;.~~
,4:.§~
,4:.~~
,4;.~~~~ ,4;~~~
,4:~~~~~ ,~.~~ 47
,4:.~q~~~
Chapter 10
H-/C
,4:b~#_
I
, 5 ; b ~ ~ ~ ~I ,5~~~~
I
I '~b~#*ffl~~
,5:b~~
I
I
Chapter 10
F#-/C
72
,~~~~
Chapter 10
FU-/C
B-/F-
Chapter 1 0
Chapter 10
E-/Bb
Chapter 10
A-/Eb
Chapter 10
D-/A&
~~b~~
~~~b~~~~ ~~~~~~~
~&~~~
~
G-/CP-
Chapter 10
Chapter 10
C-/H
Chapter 10 F-/B
1
1W~Jij~J~~b~~~~~ ~2~~#~~~~ 3
~###~~~
~4###~~~
Chapter 10
Bb-/E
-
Chapter 10
Eh-/A
,
8
1;
....
I,
'
, 9
,#
,#
10
11
12
,~ f)
Chapter 10 A~-/D-
"
~
~J~
~
_ _ _ _ _ _Chapter 10
C#-/G
Chapter 10
DESCENDING GRID: F#-jCTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. n-jC-
G-jO-
A~-jD-
A-jE~-
B~-jE-
B-jF-
C-jG~-
O-jG-
D-jA~-
E~-jA-
E-jB~-
F-jB
l\
~
)
,., u
0
" U
v
u
, f
, ~
f
~
, f-
EXAMPLE
G-jO-
F#-jC-
EXAMPLE
F#-jC-
using the same melodic phrase from each starting note of the grid. A~-jD-
A-jE~-
using different melodic phrases from each starting note of the grid. G-jO-
A~-jD-
A-jE~-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar, 2 bars or 4 bars each.
Chapter 10
ASCENDING GRID: F~-/CTry playing 8 notes of any hexatonic melody using the notes of the grid as starting notes. F#-jC-
t.
.e
F-jB-
.e-
E-jm-
Eb-jA-
D-jAb-
Db-jG-
C-jF#-
B-jF-
Bb-jE-
A-jEb-
Ab-jD-
v'U'
'I
4)
'" 'U'
t.J
, t..
, .e
t..
, t.J
~.e-
EXAMPLE
, ,
F#-jC-
EXAMPLE
n-jC-
u
~
~
using the same melodic phrase from each stal1ing note of the grid. F-jB
E-jBb
Eb-jA
using different melodic phrases from each starting note of the grid. F-jB
E-jBb
Eb-jA-
Also, try improvising using any rhythm but starting your phrase on the notes of the grid. Have each hexatonic be 1 bar,2 bars or 4 bars each.
u
G-jDb
Chapter 10
APPLICATIONS
Try using hexatonic #10 on tune 8 (the dominant 7th chords).
TUNE 8 (CD TRACK 13) I C A-/E~- (F~-/C-)
Hexatonic
~e
2
z
2
z
7
7
7
7
2
I
2
Z
7
7
7
7
7
2
7
7
2
7
7
A-/E~7
7
2
7
7
7
7
2
7
2
B~-7
7
2
7
7
2
7
2
7
7
7
2
0-7
7
7
7
7
2
7
2
I
A~Ll
7
2
7
7
7
7
7
7
z
2
I
7
2
7
7
7
7
2
7
7
7
I
5'
2
7
B~-7
A~Ll
2
7
2
7
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
I
7
7
A-/E~7
2
7
7
7
2
7
B~-7
7
7
7
7
2
7
7
7
7
2
7
7
7
7
2
Z
7
7
7
7
2
I
7
7
7
2
7
7
7
2
7
7
I
F7
7
2
7
B~-7
Bb-7
7
2
7
7
7
7
7
2
7
7
7
2
7
2
7
I
EP
7
7
7
7
7
2
7
I
2
7
2
7
2
7
7
7
2
7
~
EP
7
7
Eb-7
7
(B-/F-)
7
2
7
AP
B-/F- (A~-/0-)
7
7
7
7
7
7
7
7
7
I
7
7
7
7
7
7
7
pb9
C-7
B-/F 7
7
7
7
7
7
7
7
2
7
I
C0
2
7
O-/A~-
A~Ll
EP
7
7
A-/E~- (F~-/C-)
7
7
7
7
7
7
A-/E~7
7
2
7
2
AbLl
2
7
F7 alt.
A-/E~- (F~- /C-) Z
7
P
(F#- /C-) 7
7
(F#-/C-)
G7~9~13
00
O~Ll
2
7
7
A~7
B- /F- (A~- /0-)
EP
7
7
7
B-/F- (A~-/0-)
G-/G- (Bb-/E-) Z
7
p~9
C-7
C-7 A-/E~-
7
E~-7
C-7
2
7
(B-/F-)
B-/F- (A~- /0-)
7
2
G7
29
~
7
G-/G- (B~-/E-)
25
l
7
EP
21
~
7
(F#-/C-)
17
~
2
G7~9~13
00
DbLl
13
~
7
G-/G- (B~-/E-)
9
~
7
EP
5
~
7
B~-7
A~Ll
Chord
7
O-/A~-
7
2
7
2
7
I
7
7
Bb-7
7
7
7
7
EP
(F#-/C-) 7
7
~
Chapter 10
TUNE 8 (CD TRACK 13) I B~
~
e ,
7
2
7
7
7
2
7
,
7
I
2
7
2
7
2
7
7
2
7
2
B-jF 2
7
2
7
2
7
,
7
2
7
(-7
7
7
2
,
7
7
2
7
2
,
7
7
E-7
7
2
7
7
7
7
2
Z
7
2
7
2
7
Z
7
7
2
I
7
2
7
Z
7
7
7
2
I
7
2
7
7
7
2
;,
I
7
2
Z
7
7
7
(-7
Bbll
7
7
7
7
2
7
2
7
7
7
2
7
,
7
I
7
2
7
7
7
2
7
7
2
7
7
2
7
2
,
7
I
7
2
7
,
7
Z
7
I
7
7
7
7
(-7
G7
7
7
2
I
7
2
7
2
7
2
7
(-7
,
7
2
7
2
7
7
7
2
7
7
7
Z
7
Z
7
7
7
F-7
(-7
7
7
7
2
7
,
7
,
7
7
7
Z
7
7
7
I
F7
7
2
7
7
2
7
Z
7
~
7
7
2
7
Bb7
2
7
Z
7
2
7
,
7
,
7
G7 b9 G-jG
Z
7
2
7
Z
7
2
7
2
7
I
D0
7
Z
G- jG- (Bb- jE-)
D-7
F7
2
7
F7
7
7
2
7
7
7
G7 a lt.
B-jF- (Ab-jD-) L
Z
E-jBb- (G-jG-)
B-jF- (Ab- jD-)
,
7
B-jF- (Ab- jD-)
Z
Bbll
A7b9b13
E0
Ebll
7
2
G7 G-jG- (Bb-jE-)
F7
7
7
G-jG- (Bb- jE-)
Eb-jA- ((-jF#-) 2
2
G7 b9
D-7
D-7
2
7
2
(B~-jE-)
B-jF- (Ab- jD-) Z
7
I
(G-jG-)
BP
G-jG
D-7
2
7
F-7
((-jF~-)
A7
29
l
7
Eb-jA ((-jF#-)
25
~
7
2
7
Bbll
F7
21
~
Z
(Ab- jD-)
17
~
7
A7 b9b13
E0
Ebll
13
~
7
2
,
7
Eb-jA
9
~
2
F7
5
~
7
(-7
Bbll
Chord
7
E-jB~-
B-jF- (Ab-jD-)
Hexatonic
B-jF (Ab- jD-) Z
7
2
7
Z
Bbll
7
2
7
2
7
I
7
7
(-7
7
7
Z
7
F7
,
7
~
Chapter 10
TUNE 8 (CD TRACK 13) I H
b
f(j
7
7
7
7
7
7
Z
z
Z
Z
I
2
7
2
7
2
7
7
7
2
7
2
7
7
Z
7
Z
7
7
7
2
G-7
7
7
Z
7
7
2
7
7
7
2
7
f
7
2
7
2
I
7
7
2
7
7
7
7
7
7
2
7
7
7
7
- "
7
7
Z
2
7
Z
7
7
7
2
7
7
2
7
7
G-7
7
2
7
7
7
G-7
7
7
2
7
2
7
2
7
2
Z
7
7
7
Z
7
Z
Z
Z
C7
7
2
I
7
7
I
7
7
7
2
Z
7
7
7
2
7
I
Z
z
7
Z
Z
7
7
2
Z
I
2
Z
Z
Z
7
2
7
7
7
7
7
7
2
7
2
G-7
D7
2
7
7
Z
2
7
7
7
2
7
2
7
I
Z
7
2
7
Z
C-7
7
7
7
7
2
Z
I
2
7
(E~-jA-) 2
7
~
C7 (A~- jD-)
7
2
7
F7
A~-jDZ
7
(F-jB-)
(F-jB-) 7
Z
7
Z
7
7
D7~9
A-7
A~-jD7
Z
7
7
7
Z
Z
Z
7
7
I
Z
7
2
Z
2
7
F#-jC 7
7
2
7
2
Ftl
2
7
D7alt.
(E~-jA-) Z
2
F#-jC-
Ftl
2
7
(F-jB-)
B-jFZ
2
F7
(E~-jA-) 7
7
2
D7
A0
7
7
(A~- jD-)
D7~9
(E~-jA-) 2
7
A~- jD- (F- jB-)
C7 F#-jC-
7
Z
7
A~-jD-
E7 ~9~13
F#-jC 2
Z
2
I
A-7
C7
B0
B~tl
29
f
2
Bb-jE- (G- jO-)
25
f
7
7
I
A-7
G-7
Ftl
7
C-7
(G-jO- )
21
f
7
2
F#-jC7
2
A~-jD-
7
2
E7
2
Z
A-7
17 7
2
(G- jO-)
7
2
7
Ftl
C7
B-7
Z
2
(E~-jA-)
B~-jE-
2
7
Z
E7~9~13
F#-jCZ
Z
B0
B~tl
13
f
7
B~-jE-
9
f
2
B-jF-
C7
5
f
Z
G-7
Ftl
Chord
7
(E~-jA-)
F#-jC-
Hexatonic
Z
2
7
2
7
I
2
z
G-7
2
7
2
7
C7
(E~-jA-) 7
7
~
Chapter 11 CHAPTER 11
D+/C+ Hexatonic eleven, two augmented triads a whole step apart, creates a whole-tone scale and sound. For example, D+/C+ could be played on C7, D7, E7, H7, A~7 and m7. D+/(+
It could also be used on minor chords. O+/B+ could be played over C-(1i)7, for exam
ple. In this instance, it is the 0 that is the unusual note that creates the rub.
,r
0+/8+ /",.7
(-Ii
(~9)
#J
3
~r
11
J
5
r
13
J
Chapter 11 ----
D+/C+
l
Chapter 11
DO/CO Hexatonic twelve is two diminished triads a whole step apart. DO/CO
For example, DO/Co can be played on diminished 7th chords: C07, g07, H07 and A07 or the dominant chords A~7, B7, D7 and F7. BO/CO hexatonic is another that can be played over those same chords. BO/CO
~,~~~I~~t
E1 hf 1E1
Chapter 11
" ,3 ~
~~
Chapter 11
B-jC+ Hexatonic thirteen is a minor triad over an augmented triad separated by a half step.
B-jC+
For example, B-/C+ could be used on A-7, Ct,7#5, H0 or
B7~9sus4.
0.".. '\ r 11
B-'C+
~J·JI~~~
mr~
,3
I
I 276
1
HEXATONICS
1
-
I
..
"
..-,;
Chapter 11 Bb+/C
Hexatonic fourteen is a major triad and an augmented triad separated by a whole step.
Bb+/C
For example, m+/c could be used on G-7, EO, C7,
m~7#5
and H7alt.
Chapter 11
Bb+/C
" ,3
~~
Chapter 11
BO/CHexatonic fifteen is a diminished triad and a minor triad separated by a half step.
For example, BO/C- can be used on C-7, F7, A0 and B7alt.
Chapter 11
" ,3 ~
€m=r~
Chapter 11
Eb-jC Hexatonic sixteen is a minor triad over a major triad, a minor third apart. H-jC
~,~b~bl~~1 r #5 #3j [fj Since this hexatonic is another subset of the diminished scale, EHC fits well over C7, E1>7, H7 or A7. It has a nice "bluesy" flavor, too.
Chapter 11 E&-/C
"
,3
- "
Chapter 11 APPLICATIONS
Try applying any of the hexatonics to progressions 13 and 14. For example, over the C-7 chord, try any of these hexatonics: F/H, D-/H, D/H, D+/H+, D-/C-,
m/c-, B-/C-, D/C-,
O+/B+, G+/F, D/H+, BO/C-.
TUNE 13 (CD TRACK 18) I C (-7 Dorian 777
9
~ 17
B~-7 .I
A~-7 .I
25
~ 33
~ 41
.I
.I
F#-7 7
,
E -7 .I
.I
.I
.I
7
.I
.I
.I
,
7
,
,
7
.I
.I
777
7
.I
7
.I
.I
.I
7
7
7
7
7
Dorian .I
7
.I
.I
7
.I
.I
.I
.I
7
.I
.I
777
.I
7
.I
.I
.I
7
7
777
.I
.I
7
7
,
,
,
7
.I
7
.I
.I
.I
7
Z
7
Dorian 7
,
.I
.I
7
.I
,
,
,
7
7
Dorian .I
,
.I
.I
.I
7
.I
.I
7
.I
.I
.I
.I
7
777
7
7
777
.I
.I
.I
7
.I
Z
.I
Z
7
.I
.I
.I
.I
,.
.I
7
,
,
,
7
,
,
,
7
,
,
.I
.I
.I
7
Z
7
Z
Z
7
.I
.I
.I
.I
,
.I
7
,
.I
7
.I
,
.I
.I
7
Dorian .I
D -7 .I
7
.I
7
,
7
Dorian .I
.I
7
7777
" r r'r7 r1 , r r r ' t It)
Chapter 11
TUNE 14 (CD TRACK 19) I C
q-7 Dorian 7
, 9
17
B-7
, 33
41
7
A -7 7
7
7
7
7
7
7
7
7
Z
Z
Z
7
7
z z z z
I
7
Z
Z
z z z z
7
7
7
7
z z ,
7
7
7
,
Z
7
777
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
7
7
7
7
7
Z
I'
Z
7
777
7
7
7
777
z z z z
z
Dorian
F-7
7
7
7
7
7
7
7
Z
rrTZ
7
7
,
Z
7
7
7
7
7
7
z z z z
Dorian 7
E~-7 7
7
I
Dorian
G -7
7
7
Dorian
///z
7
25
7
7
I'
7
Z
7
Z
7
Z
Z
7
7
,
z ,
z
Z
Z
z z z z
,
z ,
z
z z z z
Dorian Z
Z
/z//
,zzzfl
TTT7[1
Chapter
11
Try applying any of the hexatonics to progressions 13 and 14. For example, over the D-7 chord, try any of these hexatonics: G/F, E-/F, ElF, E+/F+, E-ID-, C/D-, O-/D-, E/D-, Eb+/Db+, A+IG, E/F+,
TUNE 13 (CD TRACK 18)
C~olD-.
I B~
D-7 Dorian 777
, 9
17
(-7 .I
.I
B~-7 7
7
,.
.I
7
7
7
7
Z
Z
7
7
Z
Z
7
Z
Z
7
7
Z
Z
F#-7
,.
7
z z
.I
,
7
.I
,
z ,
Z
Z
Z
7
7
Z
"
z
,
,
,
I
Z
.I
Z
Z
7
Z
,
,
,
z
,
,
7
,
,
,
z
,
,
z ,
7
Z
7
Z
777
Z
,
,
z ,
Z
7
Z
Z
7
Z
L
7
Z
7
Z
Z
7
7
Z
z z z z
,
Z~
Z
,
z
,
z
,
7
Z
Z
Dorian
, ,7,
E-7
.I
Dorian
777
41
.I
Dorian
7
33
Z
z z z z
Dorian z
z
Z
7
,
,
z ,
ILzzl,777E1 r r r , : r r r 7 f1
Chapter 11 TUNE 14 (CD TRACK 19) I Bb Eb-7 7
, 9
17
Z
7
7
7
B-7
7
7
7
A-7
7
7
Z
7
7
7
7
7
7
Z
Z
7
rz rZ rZz7
r7 rZ rZz7
z z z z
7 Z 7 7 rTTZ
////
rrTZ
G-7
7
7
7
7
7
Z
Z
7
7
,
7
7
7
7
f
Z
Z
7
7
Z
7
7
Z
Z
777
r7 r7 r7z7
7
7
Z
7
Z
7
7
Z
7
7
7
7
7
7
Z
7
7
Z
Z
Z
,
Z
Z
7
7771 r rrz
rrTZ
////
//7'/
7
7
7
7
7
7
7
7
z
Z
Z
7
7
7
7
7
7
7
7
Z
Z
.I
Z
Dorian
7777 r rrr
F-7 Z
7
Dorian
777~
,
7
Dorian
rrrr
33
7
7
q-7 Dorian
7
25
Dorian
""Z r rrz
z z z z
7
7
Z
7
rrTZ
7
,
Z
7
7
////
7
7
,
7
Dorian Z
7
7
7
Z
7
7
7
7
7
7
7
7
7
7
7
7
r
7
.I
7
tItI
Chapter 11 Try applying any of the hexatonics to progressions 13 and 14. For example, over the A-7 chord, try any of these hexatonics: D/C, B-IC, B/C, B+IC+, B-IA-, GIA-, G#-IA-, B/E-, m+IA~+, E+/D, B/C+, G#o/A-.
TUNE 13 (CD TRACK 18) I Eb
A-7 Dorian 7
9
~ 17
G-7 .I
25
777
~ 41
.I
Eb-7
q-7
.I
7
.I
,
.I
z ,
,
7
Z
Z
Z
7
Z
Z
Z
7
Z
Z
7
7
.I
.I
.I
.I
.I
.I
7
.I
.I
-'
Z
.I
,
,
7
.I
,
z ,
,
z ,
,
7
7
Z
Z
,
Z
7
7
.I
.I
,
7
7
Z
7
Z
7
Z
Z
Z
,
z
,
z
Z
7
Z
Z
Dorian 7777
,TTZ
77771777
rrrr
rrTZ
Dorian
7777
rrrc
B -7
,
Dorian
7777 r r,c
33
7
777
Dorian
F-7 "
Z
777
Dorian
7777
rrTZ
z ,
,
,
LLzzl'Z777 r rrT rrrz
Chapter 1 ~1
_ TUNE 14 (CD TRACK 19) I Eb
Bb-7 Dorian 7
7
7
7
7
9
~ 17
7
Z
F~-7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
rrTZ
Z
Z
7
7
7
Z
Z
Z
7
I
7
rrTZ
E-7
////
rT77
////
////
7
Z
I'
,
Z
7
z
Z
Z
Z
7
7
Z
7
Z
7
rrTZ
Z
7
7
r7 r7 cZzZ
7
2
7
7
7
7
7
7
7
Z
7
Z
7
7
7
Z
7
2
7
7
7
7
7
Z
7
7
7
7
7
7
7
Z
7
Z
7
7
7
2
7
Dorian
D -7
z
Z
I'
7
7
7
7
7
r7 r77Z27
7
777
r7 r7 r7z7
////
7
7
7
7
2
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Z
7
7
7
7
7
Z
7
7
7
Dorian
~ (-7 7
Z
7
Dorian
////
33
7
Ab-7 Dorian
~ 25
7
7
rrTZ
CrTZ
////
7
Z
7
7
rrTZ
Dorian 7
7
7
7
Z
7
7
Z
7
7
7
Z Z 7 7 rTTZ
L77zl)
rrrztl
ACKNOWLEDGME TS I wish to thank the following people: Adam Roberts for help on the book.
Jeri Bergonzi edited and wrote the text.
Hans-fOrg Rudiger for suggestions and putting it all together.
THE MUSICIANS
Andrea Michelutti drums (plays Bosphorus Master Series cymbals) Renato Chicco piano Dave Santoro bass Jerry Bergonzi plays Selmer saxophones, Rico reeds and uses Zildjian cymbals.
8
I
05095 14268
6
""Hexatonic scales are six note scales. This book presents apractical me hod for the construction of hexatonic scales t t are useful for both the improviser and com poser. Many modern piano players use hexatonic voic ing by stacking the triads to create aparticular harmony. W improvise ""in" the sound of the voicing and using hexa to ic voicings and lines can lend avery contemporary sound. As with the other books in this series. there is aplay along CD to tryout all of these different sounds. If you liked checking out ""Pentatonics", you'll have fun with ••
.
"
13000
.
