Signature Sound Boston MA

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.

Andrew A.
(877) 231-8505
Warren st
Brighton, MA
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Piano, Clarinet, Saxophone, Flute, Music Theory, Guitar, Music Performance
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1 to 99
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Sax: beg to adv Piano and Guitar: beg Improvisation Saxophone is my primary instrument and I can teach all levels of saxophone playing. I also play and can teach Beginner Clarinet, Flute, Guitar and Piano. I have years of experience both in the theoretical studies and performance of Jazz, Classical and Rock music, as well as other styles such as Latin Jazz, Funk and Experimental Composed and Improvised music.
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University of Vermont - Music - 2005-2009 (Bachelor's degree received) New England Conservatory - Music - 2010- (not complete)
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Ming-Hui L.
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Commonwealth Avenue
Boston, MA
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Cello, Piano
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3 to 60
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music, Cello, Piano
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Stella Matutina Girls' High school in Taiwan - - -1999 Taipei National University of the Arts - Music - -2003 Peabody of Johns Hopkins University - Music - -2005 Boston University - Music - current
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Karen DeBiasse
45 Franklin Street None
Somerville, MA
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Drums, Guitar, Piano, 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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$70
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28 Years

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Danilo H.
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Boston, MA
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Percussion, Songwriting, Trumpet, French Horn, Trombone, Music Theory, Guitar, Drums, Music Performance, Piano, Tuba
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5 to 99
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Improvisation, Traditional West African drumming as well as popular music from different regions in Africa, Classical solo trumpet and orchestral performance, Latin percussion.
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The New England Conservatory of Music - Trumpet Performance - Fall 2004 - Spring 2008 (Bachelor's degree received)
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Jonathan P.
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Overlook Ridge Dr.
Malden, MA
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5 to 99
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Classical and Jazz
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Westfield State Colege - Music Education - 9/99 - 5/04 (Bachelor's degree received)
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Erin M.
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Brighton, MA
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5 to 99
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For voice, I specialize in classical, jazz and rock/pop. For piano, classical, jazz and rock. I am always bringing in new, interesting genres to teach.
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Wooster School - - 2001-2005 (High School diploma received) Berklee College of Music - Professional Music - 2005-2009 (Bachelor's degree received)
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Lori L.
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Boston St
Somerville, MA
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Private, Group, Classroom, Musical Theatre, Classical, Pop, Opera
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Longy School of Music - Opera Performance - 2006-present (Master's degree received) University of Maine - Music Education - Voice - 1999-2004 (Bachelor's degree received) Edward Little High School - H.S. Diploma - 1995-1999 (High School diploma received)
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Ming-Hui L.
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Park Vale Ave,
Allston, MA
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Stella Matutina Girls' High school in Taiwan - - -1999 Taipei National University of the Arts - Music - -2003 Peabody of Johns Hopkins University - Music - -2005 Boston University - Music - current
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Caroline M.
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Wicklow Avenue
Medford, MA
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8 to 99
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All styles are chosen to fit each students goals and levels.
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Richmond High School - College Preperatory - 1996-2000 (degree received) University of Maine - Vocal Performance - 2000-2004 (degree received) Longy School of Music - Opera Performance - 2005-2008 (degree received)
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Lori L.
(877) 231-8505
Highland Street
West Newton, MA
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Piano, Music Theory, Singing, Theatrical Broadway Singing, Opera Voice
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3 to 99
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Private, Group, Classroom, Musical Theatre, Classical, Pop, Opera
Education
Longy School of Music - Opera Performance - 2006-present (Master's degree received) University of Maine - Music Education - Voice - 1999-2004 (Bachelor's degree received) Edward Little High School - H.S. Diploma - 1995-1999 (High School diploma 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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