Signature Sound Brooklyn NY

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.

Veronica G.
(877) 231-8505
Rogers Ave
Brooklyn, NY
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Piano, Singing, Songwriting, Music Theory
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4 to 99
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Piano and Vocals: beg to adv Jazz and contemporary music specialization
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Northern Virginia Community College - Music - 1998-2000 (Associate degree received) Berklee College of Music - Music - 2000-2005 (Bachelor's degree received) University of North Texas - Music - 2006-2009 (Master's degree received)
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6 to 99
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Will discuss at interview.
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San Francisco Conservatory of Music - Composition - 9/04-5/06 (Master's degree received) Berklee College of Music - Composition/Film Scoring - 9/99-5/02 (Bachelor's degree received) Boston University - Psychology - 9/94-8/98 (Bachelor's degree received)
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Alex G.
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5 to 45
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My specialty is Electric Bass and Upright Bass. I teach and have performed professionally, a variety musical styles with special interests in Jazz, Funk, R&B, Pop, Rock, Latin, and Classical. I work out of the Simandl Method For The Double Bass Books 1&2. For electric bass i use a variety of Berklee Press Bass books. Aside from bass, I play piano very well and teach out of the Berklee Press Basic Keyboard 1&2 Books. For music production I have hands on digital audio workstation assignments fo…
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University of New Hampshire - Economics - Sept 1 1996-May 15 2000 (Bachelor's degree received) Berklee College of Music - Contemporary Writing and Production - Jan 3, 2003- Dec 15 2005 (Bachelor's degree received)
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Doran D.
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Piano Pedagogy: Classical, Jazz, Blues, Modern, etc, Music Theory Music History: All Levels (High School - Masters degree) Basic Musicianship: Ear-Training, Rhythmic Training, Harmonic, Melodic Theory Composition: Classical, Contemporary, Jazz composition, arrangement, notation
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New York University - Music Composition, Music Theory - Sept. 2007 - May 2009 (Master's degree received) Columbia Univeristy - Music Composition, Music Theory - Sept. 2006 - May 2007 (Bachelor's degree received) Kenyon College - Music Theory, Piano Performance, English - Sept. 1999- May 2003 (Bachelor's degree received) Harvard-Westlake School - - 1995-1999 (High School diploma received)
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J. David W.
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South Oxford Street
Brooklyn, NY
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All, but adept at teaching improvisation
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Cincinnati College-Conservatory of Music - 1982 - 1980 (Bachelor's degree received) The Juilliard School - 1984 - 1982 (Master's degree received) The Manhattan School of Music - 1989 - 1986 (Degree received)
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Arianna B.
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Dean Street
Brooklyn, NY
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5 to 99
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Beginning-Intermediate classical and jazz piano. West African percussion (djembe, djun djun, shakere, claves, etc) Latin Percussin (congas, bongos, guiro, etc), and kit drums (jazz/funk/rock)
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Sarah Lawrence College - Jazz Piano/Percussion - 2004-2008 (Bachelor's degree received)
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Cal S.
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Beverley Rd.
Brooklyn, NY
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Music Performance, Bass Guitar, Songwriting, Piano, Guitar, Music Theory
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5 to 99
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Guitar, Bass, Piano, Songwriting, Performance, Music Theory, Rock, Pop, Country, Blues, R&B, Jazz, Funk, Classical, Folk
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The New School - Liberal Arts/Music - Jan 2010-present (not complete)
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8 to 99
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Styles/genres: jazz, funk, rock, pop, classical, folk, reggae, hip hop, Balkan folk. Methods: transcription and analysis, ear training, tone production, music theory, improvisation, composition, reading and rhythm studies, repertoire development.
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Washington State University - Music - Sept '91-May '97 (Bachelor's degree received) New England Conservatory - Jazz Studies - Sept '04-May '06 (Master'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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