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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.

J. Andrew D.
(877) 231-8505
W Belden Ave,
Chicago, IL
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Music Theory, Songwriting, Piano
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7 to 65
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I majored in Jazz Studies with an emphasis on piano performance, composition, and arranging. My early training, however, was in classical -- and I've taken a number of courses in pop, classical, 20th century, and rock-based theory/arranging.
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Pasadena City College - General / Music - 2002-2006 (not complete) Sonoma State University - Jazz Studies (Piano) - 2006-2009 (Bachelor's degree received)
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Jason Peterson
21723 W Halifax Dr
Plainfield, IL
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Piano
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Classical
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Advanced, Beginner, Intermediate
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$25
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12 Years

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Mick A.
(877) 231-8505
S. Michigan Avenue
Chicago, IL
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Guitar, Percussion, Piano, Acting, Bass Guitar, Speaking Voice, Music Theory, Singing, Music Recording, Drums, Music Performance, Songwriting
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5 to 99
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Formerly certified Zuzuki instructor, good with very young children Excellent with professional and serious adult students
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American Conservatory Of Music - piano - 1964-72 (not complete) City Colleges of Chicago - education - 1984-86 (not complete) U.of I. Chicago - music/English - 1972-76 (Bachelor's degree received)
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Kwanwoo L.
(877) 231-8505
W. St. James Pl.
Chicago, IL
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Piano
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5 to 99
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Classical
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University of Illinois - Electrical Engineering - 2005-2009 (Bachelor's degree received)
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Shanta N.
(877) 231-8505
S. Ridgeland Ave.
Chicago, IL
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Bass Guitar, Music Performance, Piano, Speaking Voice
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5 to 99
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improvisation in jazz and world music
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Carleton College - English - 1967-1971 (Bachelor's degree received) Western Governors Univ. - Elementary Education - 2003-2006 (Master's degree received)
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Jenny H.
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Saratoga Cir
Algonquin, IL
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Dance, Piano
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5 to 99
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Dance: ballet, hop hop, jazz, lyrical, modern Piano: classical, modern
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Loyola University Chicago - Neuroscience, Dance, Theology - 08/09- present (not complete)
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Daniel A.
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North St.
Dundee, IL
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Music Theory, Piano, Songwriting, Singing, Music Recording
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5 to 99
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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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Tessa H.
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South Street
Dundee, IL
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Cello, Music Theory, Piano
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5 to 99
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I teach in a slower method so everyone can understand the instrument. If the student wants to go faster, I have no problem with that. I teach for mostly cello in the classical style, but can also teach in other different styles. When it comes to genres the sky is the limit.
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Elgin Community College - Music Education - 2007-2010 (Associate degree received)
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Jennifer H.
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Harrison St
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.
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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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Lorraine M.
(877) 231-8505
N. Washington Ave
Park Ridge, IL
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Singing, Piano, Percussion, Music Theory
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4 to 99
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Mainly classical because it gives the best results. Just think how a classical singer can be heard above an entire orchestra. Classical singers don't need microphones, they use their body to create powerful sounds. Percussion: Snare drum, timpani, Marimba, Xylophone. I base my technique on Richard Miller's books. I love including Jaques-Dalcroze practices in my teaching methods. I focus on breathing as the foundation for singing. I also focus on a relaxed body, jaw, neck for optimum singing.
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Bachelor of Arts in Music: University of Ottawa, Honours Degree.
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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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