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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.

Andrew G.
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Bay View Dr.
Safety Harbor, FL
Subjects
Music Theory, Trombone, Songwriting, Music Performance, Tuba, Singing, Piano, Trumpet
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1 to 99
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All styles of music and performance. (jazz/Classical,Pop, etc)
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North Stafford High - General Ed - 1992-1995 (High School diploma received) Radford University - Music - 1195-2000 (Bachelor's degree received) FIU/ - Jazz Edu - 2001-2002 (not complete)
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Zlatina A.
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49th Street North,
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Music Theory, Opera Voice, Piano, Music Performance, Singing
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High Scool of Music - Piano - 1993-1998 (degree received) National Academy of Music - Music education - 1998-2003 (degree received) National Academy of Music - Choir conducting - 1998-2004 (degree received)
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Andrew B.
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N Woodland Blvd Deland, FL
Deland, FL
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Music Theory, Piano, Drums, Guitar
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13 to 70
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Visualization method of practicing guitar: classical style, rock style, contemporary christian song style.
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Stetson University - Music Composition - 2008-2010 (not complete)
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Andrew B.
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Cascades Park Trail Deland, FL
Deland, FL
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Music Theory, Guitar, Drums, Piano
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13 to 70
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Visualization method of practicing guitar: classical style, rock style, contemporary christian song style.
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Stetson University - Music Composition - 2008-2010 (not complete)
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Kellner S.
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Northwest 67th St.
Miami, FL
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Senior High - General study - 1998 (High School diploma received) Full Sail University - Music production - 2005 (Associate degree received)
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Angela H.
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Jettie St. NE
Palm Bay, FL
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I teach all vocal styles, from Classical to Jazz, Music Theater to Pop. Solfege reinforces ear-training and vocal ability. I teach in the piano style that best fits the student. Theory and sight-reading is an important tool that I teach in a fun way.
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Florida State University - Music Education- Vocal - August 2002- December 2006 (Bachelor's degree received)
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Johammee R.
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S. Olive Ave.
West Palm Beach, FL
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Music Theory, Trumpet, Piano, Music Performance
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8 to 30
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Bill Adams' Warm up method for trumpet, Arbans, Michelle's, and various other study exercises for trumpet and piano.
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Palm Beach Atlantic University - Bachelor of Arts - August 2007- (not complete) Dreyfoos School of Arts - Music - August 2006- May 2007 (High School diploma received)
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Yvette M.
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Allan Lane
Melbourne Beach, FL
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Music, Guitar, Piano Specialize in beginners and intermediate adults and children. Play Classical Guitar and Piano. Also play rock guitar and acoustic guitar.
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Horlick High, Racine, Wisc. - Academic - 1981-1984 (degree received) Florida Atlantic University, Boca Raton, Florida - Music - 1993-1998 (degree received)
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Natalie H.
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Magnolia Lane
Yalaha, FL
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Elmhurst College - Music/Music Business - 1991-1997 (Bachelor's degree received)
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Alexandra L.
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SW 82 Street
Miami, FL
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Piano, Opera Voice, Speaking Voice, Singing, Acting, Music Performance, Theatrical Broadway Singing, Dance, Music Theory
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5 to 99
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I specialize in teaching voice to both musical theatre and classically trained voice students. I am also trained in staging musical theatre and opera songs.
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University of Miami - - 2007-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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