JERRY BERGONZI THESAURUS OF INTERVALLIC MELODIES PDF

Documents Similar To Jerry Bergonzi – Vol.5 – Thesaurus of Intervallic Melodies. Gary Campbell – Expansions. Uploaded by. Andre Linoge. Jerry BergonziVol 2 – . Regarding Volume 5 of Bergonzi’s Thesaurus of Intervallic melodies. What jerry suggested to me to start this book was take the first ten pages. Jazz theory and patterns by the saxophone master.

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This was incredibly hard for me but I think it was good to hear and produce the pitches against the different tonics. I would stick with the same line and then went it went to the next track tesaurus key I would sing the line again over the new key.

How are you getting on with this Kenfen, it seemed pretty obscure to me when I checked through it in the shop.

Does anyone have any experiences with this study, positive or otherwise?

Sponsored Links Remove Advertisements. Like the nasal characteristic of a C going to the D. Originally Posted by JimD. There’s so many ideas packed into these exercises I mean, I can get tons out of the book by simply playing the lines, but I’d like to know what the text at the top of the pages is really talking about.

If you also check out jerry’s new CD, Dreaming Outloud on Wailing City Sound CD’s a lot of the tunes that are in this book are finally out in performance form so you can tgesaurus some of this inovative and intervallic playing that jerry is about.

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Wow, I ordered this book and the Pentatonic book. Thanks Timfor taking the time to explain that. I’m just trying to to get my head around playing that freely and using a random mathmatical approach.

Results 1 to 15 of I have the book and understanding what is going on is not a problem, playing the lines is not a problem, but trying to get them into your playing is another thing. It makes things a bergojzi clearer.

I’d rather not construct my solos thinking melodiex intervals. It’s really helping me with sight reading and technique. What jerry suggested to me to start this book was take the first ten pages and sing them over a C major triad, then over E major and Ab triads then some minor triads, this way the ear accepts the harmony rub.

All times are GMT. I highly recommend this book.

For instance, let’s say the chart says F7: It helps me know where I am with all my horns in terms of pitch. Anything that expands the ear is a good thing, Its probably exactly what I need to dive into in fact. Berhonzi described to me that the book is good for not only improving your technique and sight reading, but also breaking finger habits which we all have and developing a different approach to pitch retention.

Am I missing something? That seems to work for me for now.

Jerry Bergonzi – Vol.5 – Thesaurus of Intervallic Melodies

I’ll sit with a tuner and play each note in a line VERY slowly and make every pitch “spot on” from the second it sounds. I think my brain just imploded!

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In just the very short time I’ve used it, it’s opening my playing up to other worlds I’m thinking of spending some time bergojzi it. Bergonzi’s Thesaurus of Intervallic Melodies.

Bergonzi Book 5 Thesaurus of Intervallic Melodies

I think also a lot of my stuff I’ve been writing out for the last half dozen years, through studying with jerry’s childhood friend Charlie Banacos is of paramount importance here harmonically.

I have also one question. Maybe it’s to maintain the mystery but it actually undermines the value of the book. A couple of these lines go a long way. From the first ten pages I loved his 1st book – Melodic Structures – and the one on Pentatonics, but infervallic couldjn’t get myself to dive into the Intervallic Melodies. I pay attention to the tone of each note and making them the same.

But, why on page 13 he decides to go FCG7-N8 is totally beyond me.

I think my brain just exploded There are some great lines in there, but they seem to happen accidentally. Can someone clue me in here?

Dave As Billie Holiday put it, “Lester sings in his horn; you listen to him and can almost hear the words”.