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Signature Sound Chico CA

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.

Kelley H.
(877) 231-8505
Toscana Way
San Diego, CA
Subjects
Flute, Music Performance, Piano, Singing, Opera Voice
Ages Taught
5 to 99
Specialties
Bel canto (classical technique) singing, Art Song and Opera, Italian, German, French and English diction
Education
Crowder College - Mathematics - 1995-1996 (Associate degree received) Missouri Southern State University - Music Education, Voice & Flute - 1997-2001 (Bachelor's degree received) The University of Texas at Austin - Opera Performance - 2003-2005 (Master's degree received)
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TakeLessons Music Teacher

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Alexander M.
(877) 231-8505
W. 24th Street
Los Angeles, CA
Subjects
Music Performance, Songwriting, Bass Guitar, Saxophone, Tuba, Oboe, Bassoon, Trumpet, Clarinet, Piano, French Horn, Music Theory, Trombone, Music Recording, Guitar, Flute, Classical Guitar, Percussion
Ages Taught
8 to 99
Specialties
I teach nearly every style of guitar: classical, jazz, rock, blues, metal, country, pop/contemporary, and folk. I feel that it is important for students to be able to read music, but I also teach students by rote. This improves their ear-training and can make learning songs much easier.
Education
University of Southern California - Music Performance - August 2010-Present (not complete) University of North Texas - Music Education - August 2006- May 2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Priscilla M.
(877) 231-8505
Via Aquario
San Diego, CA
Subjects
Theatrical Broadway Singing, Music Theory, Piano, Singing, Music Performance
Ages Taught
5 to 99
Specialties
Classical music, all periods. Musical theatre, vocal coaching and musical directing. Improvisation on piano, all styles.
Education
Wheaton College Conservatory of Music - Piano Performance - 1980-1984 (Bachelor's degree received) University of Redlands - Piano Performance - 1984-1986 (Master's degree received)
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TakeLessons Music Teacher

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Dale T.
(877) 231-8505
W 34th St.
Los Angeles, CA
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
I teach Composition as well as Music Theory and Piano.
Education
University of Maryland - Music Composition and English (double degree) - 2005-2009 (Bachelor's degree received) University of Southern California - Music Composition (degree in progress) - 2009-present (not complete)
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TakeLessons Music Teacher

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Kecia T.
(877) 231-8505
Glacier Creek Way
Elk Grove, CA
Subjects
Piano
Ages Taught
5 to 99
Specialties
I like to incorporate discovery learning and step-by-step teaching methodology in my lessons, where the student has a more successful rate of concept retention. My focus is mostly on building a strong musical foundation where my students will learn to read and play written music proficiently.
Education
CSU, Chico - Communications - 1983-1987 (Bachelor's degree received)
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Scott Myers
300 Crisp Ave
Vallejo, CA
Instruments
Accordion, Chorus, Clarinet, Composition, Conducting, Drums, Ear Training, Film Scoring, Flute, Handbells, Mallet, Marimba, Music Business, Oboe, Organ, Other, Percussion, Piano, Piccolo, Recorder, Saxophone, Theory, Timpani, Trombone, Trumpet, Voice, World Music
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
30 Years

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John V.
(877) 231-8505
Marguerite Pkwy
Mission Viejo, CA
Subjects
Music Theory, Guitar, Songwriting, Music Recording, Music Performance, Classical Guitar, Bass Guitar, Piano
Ages Taught
5 to 75
Specialties
I draw upon over 100 music theory, songbooks, and musical techniques that I use. I'm currently working on writing my own music theory/method book for the guitar.
Education
USC - MAT Education - May 2010-July 2010 (not complete) CSU Fullerton - Classical Guitar - 2006-2010 (Bachelor's degree received) Saddleback College - Music - 2003-2006 (Associate degree received)
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TakeLessons Music Teacher

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Andrew V.
(877) 231-8505
Summit St.
Oakland, CA
Subjects
Music Theory, Guitar, Piano, Classical Guitar, Music Performance, Songwriting, Music Recording
Ages Taught
7 to 25
Specialties
I was taught using the Suzuki Method and I adapt it to my students needs. I was classically trained at UC Santa Cruz, and I am most familiar with music from the Baroque and Romantic Eras.
Education
UC Santa Cruz - B. A. Music - September 2004 - June 2008 (Bachelor's degree received) Chadwick High School - High School Diploma - September 2000- June 2004 (High School diploma received)
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TakeLessons Music Teacher

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Tanisha H.
(877) 231-8505
W. 77TH STREET
Los Angeles, CA
Subjects
Speaking Voice, Music Recording, Piano, Singing, Music Performance, Songwriting, Opera Voice, Music Theory
Ages Taught
5 to 99
Specialties
Vocals: beg to adv Piano: beg to inter Vocal genres are pop, R&B, gospel, classical (opera), musical theater. I studied voice at Berklee College of Music. Have also studied Seth Riggs SLS (Speech Level Singing) method independently, however, I am not certified. Piano instruction levels I teach are basic to intermediary focusing on classical, and general accompaniment abilities.
Education
Berklee College of Music - Voice & Music Business Management - 9/1995 - 5/1998 (Bachelor's degree received)
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TakeLessons Music Teacher

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Amber W.
(877) 231-8505
Alvarado Ave
Davis, CA
Subjects
Piano
Ages Taught
5 to 99
Specialties
Classical, Boogie Woogie, Broadway
Education
Santa Rosa Junior College - Liberal Studies - 8/2005-5/2007 (Associate degree received) Sonoma State University - Liberal Studies - 8/2007-5/2009 (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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