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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.

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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Paul C.
(877) 231-8505
Addison Road
Riverside, IL
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Trumpet, Piano, Ukulele, Bass Guitar, Guitar, Music Performance, Classical Guitar, Singing, Music Theory, Opera Voice, Flamenco Guitar
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10 to 99
Specialties
My experience has been concentrated in classical guitar. However, I was a voice minor for all three degrees, and have sung in professional choirs (His Majestie's Clerkes, now Bella Voce) and paid church choirs (St. Luke's in Evanston as well as St. Chrysostom's and St. John Cantius in Chicago) for the past 26 years. My first instrument was trumpet, which I played in high school and college. I also studied piano in high school and college. In graduate school I performed in early music ensemble…
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Indiana University - Musicology - 1969-1973 (PhD degree received) Indiana University - Music Theory - 1963-1967 (Master's degree received) Georgetown College - Music Education - 1958-1962 (Bachelor's degree received)
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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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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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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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Musical Beginnings
757 McHenry Avenue, Suite D
Crystal Lake, IL
 
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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Mark Miller
1058 Viewpoint Dr.
Lake In The Hills, IL
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Composition, Ear Training, Music Therapy, Piano, Theory
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Blues, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
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$90
Years of Experience
26 Years

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Rick Kissinger
6646 N. Glenwood Ave ste 3S
Chicago, IL
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Bassoon, Clarinet, Flute, Oboe, Other, Piano, Piccolo, Saxophone
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Blues, Classical, Jazz, Kids, Other
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Advanced, Beginner, Intermediate
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$60
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10 Years

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Jennifer H.
(877) 231-8505
Harrison St
Glenview, IL
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Music Theory, Piano, Music Performance
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5 to 99
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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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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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