Signature Sound Costa Mesa 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.

Dustin C.
(877) 231-8505
Avenue of the Arts
Costa Mesa, CA
Subjects
Songwriting, Music Theory, Music Performance, Viola, Piano
Ages Taught
10 to 70
Specialties
Primarily classical music. I also teach composition, church music and contemporary concert/modern music.
Education
University of Cincinnati College-Conservatory of Music - Composition - 9/2005 to 6/2007 (Master's degree received) Santa Clara University - Piano Performance/Music - 9/2001 to 6/2005 (Bachelor's degree received)
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Nicole S.
(877) 231-8505
Thornwood Circle
Huntington Beach, CA
Subjects
Singing, Piano, Music Theory
Ages Taught
6 to 70
Specialties
Voice, basic vocal technique, Musical Interpretation & Expression, Music Theory, Broadway, classical, pop, worship, gospel, jazz
Education
Bev Hils HS - general - 1972 to 1976 CSULB - music education (vocal) - 1/1997 TO 6/2000 CSULB, graduate studies, credential in music (2000)
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RockStars Music Studios
18582 Beach Blvd, Suite 214
Huntington Beach, CA
Instruments
Chorus, Drums, Electric Bass, Guitar, Piano, Saxophone, Violin, Voice
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$130
Years of Experience
10 Years

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Gino J.
(877) 231-8505
Island Cir,
Huntington Beach, CA
Subjects
Piano, Music Recording, Music Theory, Music Performance, Classical Guitar, Bass Guitar, Guitar
Ages Taught
5 to 99
Specialties
Acoustic and Electric Guitar: beg to adv Bass Guitar: beg to adv Piano: beg to inter Electronic Keyboards: synthesizers, software, recording, sequencing I am adept in the following music styles & genres: classic rock, modern rock, metal, pop radio hits from 70’s, 80’s, 90’s, & current top40, blues, r&b. Also have jazz background in these genres: swing, bebop, smooth jazz, fusion, Brazilian, Latin. I like to use different teaching formats: notation, tab, transcribing, ear training, theory, vid…
Education
Cosumnes River College - Music - (not complete)
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Marc L.
(877) 231-8505
Bellflower Boulevard
Long Beach, CA
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Specialties
I am primarily a classical pianist.
Education
University of California, Berkeley - Music - 2006-2010 (Bachelor's degree received) California State University, Long Beach - Piano Performance - 2010-2012 (not complete)
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Laura V.
(877) 231-8505
Magnolia
Huntington Beach, CA
Subjects
Theatrical Broadway Singing, Piano, Music Theory, Singing, Music Performance, Speaking Voice, Songwriting
Ages Taught
7 to 70
Specialties
music, voice, modern singing, piano, ear training, vocal jazz, musical theatre, Broadway, children's voice lessons,piano lessons, Rock, jazz, pop, Latin, folk, Broadway, classical, bel-canto, Songwriting, improvisation, sight reading, speech techniques, monologues, speaking voice, music theory, music performance
Education
Art School La barraca, Buenos Aires, Argentina - Acting - march 1983 - nov 1986 Liceo Nr 9 Santiago Derqui, Buenos Aires, Argentina - Bachiller - march 1978 - december 1982 Conservatory of Music Basel, Switzerland - Vocal jazz, piano - sept 1997 - sept 2002
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Michelle F.
(877) 231-8505
Flagstone
Irvine, CA
Subjects
Opera Voice, Theatrical Broadway Singing, Piano, Music Performance, Singing, Speaking Voice, Music Theory
Ages Taught
5 to 99
Specialties
I incorporate Alexander Technique in my voice lessons. I teach musicianship and sight reading/singing in both my piano and voice lessons.
Education
CSU Fullerton - BM:Vocal Performance (In progress. Last year) - Fall 2007-Present (not complete)
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Laura V.
(877) 231-8505
13th Street
Huntington Beach, CA
Subjects
Singing, Songwriting, Piano, Music Theory, Speaking Voice, Theatrical Broadway Singing, Music Performance
Ages Taught
7 to 70
Specialties
music, voice, modern singing, piano, ear training, vocal jazz, musical theatre, Broadway, children's voice lessons,piano lessons, Rock, jazz, pop, Latin, folk, Broadway, classical, bel-canto, Songwriting, improvisation, sight reading, speech techniques, monologues, speaking voice, music theory, music performance
Education
Art School La barraca, Buenos Aires, Argentina - Acting - march 1983 - nov 1986 Liceo Nr 9 Santiago Derqui, Buenos Aires, Argentina - Bachiller - march 1978 - december 1982 Conservatory of Music Basel, Switzerland - Vocal jazz, piano - sept 1997 - sept 2002
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TakeLessons Music Teacher

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Emma M.
(877) 231-8505
Tulagi St.
Cypress, CA
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Specialties
I am using Alfred’s Piano or Thompson’s Modern course, popular classics, musicals/movie and piano duets. These duets are very useful as supplementary material in a piano program, musically rewarding, and very motivational.
Education
Musical Education: 1962-1971 Odessa State College of Music, Odessa, Ukraine 1971-1975 Odessa State University of Music, Odessa, Ukraine Qualification: Piano Teacher and Concertmaster Completion: B.A. in 1975.
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Matthew M.
(877) 231-8505
Centralia St.
Lakewood, CA
Subjects
Piano, Singing, Trumpet, Ukulele, Music Theory, French Horn, Percussion, Songwriting, Guitar, Trombone, Bass Guitar, Music Performance
Ages Taught
5 to 99
Specialties
Trumpet methods include (not limited to) Arban's, Clarke, Sachs, Rubank, Getchell, Adam, Schlossberg, Colin, Bai Lin. For instruments outside the trumpet, methods will more closely follow school curriculum, unless student has advanced beyond provided materials. I strongly encourage students of voice, guitar, and piano to pick material of their choosing. Classical and rock are the genres to which I am most attracted
Education
Peabody Conservatory of Johns Hopkins University - Music Education w/Secondary Applied Vocal Instruction - Fall 2003- Spring 2007 (Bachelor's degree received) Peabody Conservatory of Johns Hopkins University - Trumpet Performance - Fall 2003- Spring 2007 (Bachelor's degree received) Bob Cole Conservatory of California State Long Beach - Trumpet Performance - Spring 2008- Present (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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