Signature Sound Bloomington IL

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.

Christian R.
(877) 231-8505
W. Mclean
Chicago, IL
Subjects
Music Theory, Piano, Percussion, Music Performance, Speaking Voice
Ages Taught
5 to 99
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Rock and Jazz drum-set studies and performance. Afro-Cuban and Southern Indian hand-percussion studies and performance. Symphony percussion studies and performance. Classical piano studies and performance. Alternate drum-set and hand-percussion arrangement and instrumentation designed for recording and performance.
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Jacobs High-school and Dundee Crown High-school - General ED. and Music - 1995-1999 (High School diploma received) Berklee College of Music - Professional Music - 2002-2005 (Bachelor's degree received)
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Sheri Pape
3646 Cavalier Court 3646 Cavalier Court
Rockford, IL
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Chorus, Composition, Ear Training, Early Music, Electronic, Musicology, Other, Piano, Theory, Voice
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$30
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Val K.
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S. Michigan Avenue
Chicago, IL
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Singing, Music Theory, Theatrical Broadway Singing, Opera Voice, Piano
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7 to 99
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voice, singing, music, theatrical singing, Broadway singing, music theory, opera voice, Jazz, POP, RNB, Theory of Music, Ear Training, Piano for Beginners. Opera (Classical), Musical Theatre (Broadway), Jazz, POP, RNB. Sight-Reading Special Coaching, Russian Classical Repertoire, Russian Diction.
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Tomsk Music College Tomsk, Russia - Music Education, Chorus Conducting - 1990 Music College by Moscow Conservatory Moscow, Russia - Voice - 1992 Russian Academy of Music (Gnessin Institute) Moscow, Russia - Voice and Vocal Pedagogy - Unfinished (1994) Roosevelt University Chicago, IL - Voice and Vocal Pedagogy - 1998
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Jennifer H.
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Glenview, IL
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Baritone/Euphonium I prefer the Faber and Faber series for beginner piano teaching. I also have used the Alfred music theory game tools.
Education
Chicago School for Piano Technology - Piano Technician - 2010-2011 (not complete) Kent State University - BA in music, piano focus - 2002-2005 (&2007) (Bachelor's degree received) Lakeland Community College - Music-transfer - 2001-2002 (not complete)
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Thomas W.
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South Halsted St
Chicago, IL
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Music Theory, Guitar, Piano
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I am most well versed in jazz guitar and pop/blues guitar. I also have a strong background in classical piano and am a strong sight reader. I teach Music composition, music theory, beginning banjo, music performance, and music recording.
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Columbia College Chicago - Instrumental Performance - 2005-present (not complete)
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Janna Williamson
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Wheaton, IL
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10 Years

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Mark Miller
1058 Viewpoint Dr.
Lake In The Hills, IL
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Blues, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
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$90
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26 Years

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Daniel A.
(877) 231-8505
North St.
Dundee, IL
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Jazz Piano, Composition, Choral
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Elgin Community College - General/Music - (not complete) Vandercook College of Music - Music Education - (not complete)
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Paul R.
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W Roscoe St.
Chicago, IL
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5 to 99
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I am primarily a musical theatre pianist, so that is my forte. Fortunately, that encompasses many styles and requires knowledge of different playing methods. I also play and instruct classical, and many styles of jazz.
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SUNY New Paltz - Theatre, music - 8/2006-5/2010 (Bachelor's degree received)
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John N.
(877) 231-8505
n. mason ave.
Chicago, IL
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Music Theory, Trumpet, Music Performance, Drums, Songwriting, Percussion, Piano
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5 to 99
Specialties
For drums: Jazz, Rock, any Latin, Second Line, Shuffle, Odd Meter For Trumpet: Jazz, Classical, Show playing Performance: Stage presence, dialogue, dealing with performance anxiety, the importance of the emotional connection with music Theory: Basics, historical perspective, jazz theory/arranging, writing for all instruments Percussion: All non-pitched and pitched percussion Songwriting: Basic form, singer/songwriter styles, jazz styles, and classical styles
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Elmhurst College - Jazz Studies/Music Composition - September 05-May 10 (Bachelor's degree received)
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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...

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