i am trying to understand from wich songs are based the progressions jerry bergonzi uses on his book volume 1 - melodic structures.

lady duck = lady bird
on the brink = ???
lunar = solar
how low the sun = how high the moon
inside the milky way = ????
brontosaurus walk = giant steps
lovers again = just friends
you´re the one = ???
fangs from afar = all the things you are

does anyone know the others??

thanks in advance
There are 10 comments, leave a comment.
on the brink = confirmation
inside the milky way = in your own sweet way
you're the one = i remember you

i think i got all these from a thread on here some time ago.
thanks a lot ep
what is jerrys main thing anyways?  i heard it has something to do with connecting triads in a specific way?  can ¥ou explain it a little?
here are some links to understand this stuff-https://www.opus28.co.uk/jazzarticles.html
well there is not a ¨main approach"... each book deals with a different aspect.

volume one: 4 notes combinations to improvise.
volume two: the use of pentatonics.
volume three: bebop scale, chromatism, voice leading
volume four: how to add some rhytmic variation to you melodies.

i dont have volume five but these is what the website says:
he offers a number of suggested uses and applications for this intervallic system including ear training, composition, improvisation, improving technical facility, intonation, sight reading, breaking finger habits, and pitch retention.

about volume six this is what it says:
developing a jazz language, is the sixth book of jerry bergonzi's series, inside improvisation. learning a language requires listening on many levels to the meanings, the sounds, the intentions, and the inflections or nuances of the language. the first chapters of this volume on learning the language of jazz focus on the prerequisites of chord scales, approach notes to chord tones and target notes, scale motifs and sequences, and lines.  

part two qualifies improvisational techniques into three areas; melodic, harmonic and sonic (rhythmic devices are the focus of vol. iv, melodic rhythms) and it is designed as a menu of soloing devices from which you can select your personal course of study.  

volume seven is about hexatonics.
do hexatonic scales have to be formed by triad pairs? to me, any six note scale is a hexatonic scale...
here's something i copied from this link-  


and gets into the subject re-above post-

we are going to look at ways of constructing scales from pairs of triads. in order for this
approach to yield a hexatonic (six-note scale), the triads must be mutually exclusive – they
must contain no common tones.
of course, there is no reason why you shouldn’t experiment with the use of triad pairs that do
have tones in common, or combining two or more seventh chords, or triads, with each other,
or simply using other sets of intervals in any permutations that sound good to you. these
approaches can lead to very interesting sounds, and can be particularly useful in composition.
for now, though, we’ll focus on exclusive triads to generate six-note scales.(check the link for more)

my way of viewing the concept is in terms of polychor/slash chord thinking,it is a linear or melodic way of approaching this type of harmonic situation.....btw there's some more good stuff over there as well;i think the guy is a contributor over here...
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