Signature Sound Beaverton OR

A good way for you to incorporate this unusual chord into your own playing is to first substitute it for a maj7 chord. Next, you can start to use this color as a substitute forother types of chords. A good exercise is totake a standard, and change all the chordsto maj7#5 chords, using the original roots.

Joseph W.
(877) 231-8505
SW 30th Ave
Portland, OR
Subjects
Piano
Ages Taught
1 to 99
Specialties
Utilizes the pedagogical approaches of Ingird Clarfield.
Education
Westminster Choir College of Rider University - Music (piano emphasis) - 2001-2005 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Mark W.
(877) 231-8505
NE Wasco St
Portland, OR
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Piano, Singing, Violin, Music Performance, Songwriting, Speaking Voice
Ages Taught
6 to 99
Specialties
My emphasis is classical or Fine Art music. I am a classical singer, and I sing in several professional ensembles in Portland. In graduate school I studied and taught Music Theory and Composition. I am also an active pianist, and have accompanied singers visiting the Portland area in local recitals. My expertise is both wide and specific within the European classical tradition. That said many of my recent voice students have been singers in local rock bands. All musicians, regardless of their…
Education
Raytown High School - General Studies - 1996-2000 (High School diploma received) University of Central Missouri - Bachelor of Music - 2000-2005 (Bachelor's degree received) University of Missouri - Master of Music - 2005-2009 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Kallie H.
(877) 231-8505
NE 96th St
Vancouver, WA
Subjects
Piano, Acting, Flute, Singing, Theatrical Broadway Singing
Ages Taught
5 to 99
Specialties
I love to use games and activities to engage my younger students. I also have them study a different composer each month. I teach my students about all music and how to identify musical styles and instruments. Composition and improvising is another method I stress with my students.
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Mark W.
(877) 231-8505
NE Wasco St
Portland, OR
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Piano, Singing, Violin, Music Performance, Songwriting, Speaking Voice
Ages Taught
6 to 99
Specialties
My emphasis is classical or Fine Art music. I am a classical singer, and I sing in several professional ensembles in Portland. In graduate school I studied and taught Music Theory and Composition. I am also an active pianist, and have accompanied singers visiting the Portland area in local recitals. My expertise is both wide and specific within the European classical tradition. That said many of my recent voice students have been singers in local rock bands. All musicians, regardless of their…
Education
Raytown High School - General Studies - 1996-2000 (High School diploma received) University of Central Missouri - Bachelor of Music - 2000-2005 (Bachelor's degree received) University of Missouri - Master of Music - 2005-2009 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jeremy N.
(877) 231-8505
SE Reedway St
Portland, OR
Subjects
Drums, Music Theory, Songwriting, Music Recording, Music Performance, Guitar, Piano, Percussion, Bass Guitar
Ages Taught
5 to 50
Specialties
Drum: beg to adv Piano: beg to adv Guitar and bass: beg to inter Piano: I teach a method that my father--a professional music teacher in the Phoenix valley--has developed for 37 years which includes original exercises, music and books by Pace, Noona, Faber, Minsky and more. Drums: I developed a creative approach to drumming incorporating reading from the beginning. I use Syncopation by Ted Reed and the Breeze Easy methods to start. Also have play along CD's and playlists. Guitar: I took lesso…
Education
Univ of Arizona - Music - 08/1992-06/1997 (Bachelor's degree received) Univ of Arizona - Music - 08/2001-06/2003 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Landon S.
(877) 231-8505
Se 8th Ave
Portland, OR
Subjects
Cello, Classical Guitar, Organ, Theatrical Broadway Singing, Music Theory, Drums, Guitar, Singing, Music Performance, Songwriting, Speaking Voice, Bass Guitar, Piano, Music Recording
Ages Taught
5 to 99
Specialties
Blues Guitar, Folk Guitar, Composition.
Education
Westmont College - Music - 2005-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jeremy N.
(877) 231-8505
SE Reedway St
Portland, OR
Subjects
Drums, Music Theory, Songwriting, Music Recording, Music Performance, Guitar, Piano, Percussion, Bass Guitar
Ages Taught
5 to 50
Specialties
Drum: beg to adv Piano: beg to adv Guitar and bass: beg to inter Piano: I teach a method that my father--a professional music teacher in the Phoenix valley--has developed for 37 years which includes original exercises, music and books by Pace, Noona, Faber, Minsky and more. Drums: I developed a creative approach to drumming incorporating reading from the beginning. I use Syncopation by Ted Reed and the Breeze Easy methods to start. Also have play along CD's and playlists. Guitar: I took lesso…
Education
Univ of Arizona - Music - 08/1992-06/1997 (Bachelor's degree received) Univ of Arizona - Music - 08/2001-06/2003 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
UpBeat! Music and Drama Studio
(541) 393-2453
Pleasant Hill, OR
 
Landon S.
(877) 231-8505
Se 8th Ave
Portland, OR
Subjects
Cello, Classical Guitar, Organ, Theatrical Broadway Singing, Music Theory, Drums, Guitar, Singing, Music Performance, Songwriting, Speaking Voice, Bass Guitar, Piano, Music Recording
Ages Taught
5 to 99
Specialties
Blues Guitar, Folk Guitar, Composition.
Education
Westmont College - Music - 2005-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Joseph W.
(877) 231-8505
SW 30th Ave
Portland, OR
Subjects
Piano
Ages Taught
1 to 99
Specialties
Utilizes the pedagogical approaches of Ingird Clarfield.
Education
Westminster Choir College of Rider University - Music (piano emphasis) - 2001-2005 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Data Provided by:

Signature Sound

A good way for you to incorporate this unusual chord into your own playing is to first substitute it for a maj7 chord. Next, you can start to use this color as a substitute for other types of chords. A good exercise is to take a standard, and change all the chords to maj7#5 chords, using the original roots.You’ll be amazed how this radically changes the sound of the tune, while still maintaining the form and shape.

Ex. 1. Quick reference rule: To play a maj7#5, play a major triad a major third above the root of the chord, as shown with the E major triad over a C bass note in 1a. Three scales are good for playing over maj7#5 chords; the first, shown in 1b, is the third mode of the melodic minor scale, which in this case is the A melodic minor, starting on the third degree. It’s called C Lydian augmented. The left hand is playing a root position Cmaj7#5. Due to their unusual nature, maj7#5 chords can be voiced in root position, and sound and function just fine. Measure 1c shows the third mode of the A harmonic minor scale, called the C major augmented scale. Measure 1d shows the harmonic major scale. The #5 is en-harmonically a b6, so in this scale, we have a natural 5 and a #5, as well as the natural 4.

http://www.keyboardmag.com/uploadedImages/keyboardmagazine/Play/Key7.09_Play_Jazz_Ex.1.jpg

Ex. 2. Another good choice is the equally unusual symmetric hexatonic augmented scale, usually referred to simply as the augmented scale. Whatever you call it, it’s a six note-scale, composed of two augmented triads a half-step apart (Baug and Caug), as in 2a. The scale, shown in 2b, alternates minor thirds and half steps. A chromatic sounding scale when applied to the maj7#5 chord, it contains both the major and minor third, and the perfect and augmented fifth. Here are some two-hand comping voicings for Cmaj7#5. The first one, shown in 2c, contains an E major triad (in second inversion) in the right hand, over what could be interpreted as an Amin maj7 rootless voicing in the left hand. Of course it’s also a Cmaj7#5 in the second inversion. Next in 2d, we have the two augmented triads that comprise the augmented scale. Chick Corea played this voicing in “The Brain” (in another key). Finally in 2e we have the major triad pair from the C Lydian augmented scale (voicing contains the #4 and #5).

http://www.keyboardmag.com/uploadedImages/keyboardmagazine/Play/Key7.09_Play_Jazz_Ex.2.jpg

Ex. 3. Here in 3a are the triad pairs from the C Lydian augmented scale used as a melodic line. In 3b, the C augmented scale contains three major triads (as scale tone-triads) a major third apart: C, E, Ab. Here’s a line using those scale tone triads in root position with a chromatic approach to each.

http://www.keyboardmag.com/uploadedImages/keyboardmagazine/Play/Key7.09_Play_Jazz_Ex.3.jpg

Ex. 4. WEB EXCLUSIVE EXAMPLE! The descending scale tone major triad line from the augmented scale (4a) is based on a famous Oliver Nelson lick, over a left hand root position chord. The augmented scale also contains three scale tone minor triads. Here in 4b is one way of making a linear statement playing them in triplets over a left-hand open shell. Another interesting component found in the augmented scale are major thirds, a half step apart. They make for an i...

Click here to read the rest of the article from Keyboard Magazine

 
Subscribe Live Bookmarks Advertise Contact Us Privacy Policy Terms & Conditions
 



 
Keybord Magazine is a trademark of New Bay Media, LLC. All material published on www.keyboardmag.com is copyrighted @2009 by New Bay Media, LLC. All rights reserved