Signature Sound Fort Wayne IN

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.

Todd L.
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Lee Ct
Cicero, IN
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Music Theory, Theatrical Broadway Singing, Acting, Oboe, Trombone, Flute, Trumpet, French Horn, Organ, Tuba, Bassoon, Percussion, Piano, Clarinet, Saxophone, Singing, Music Performance, Drums, Speaking Voice
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Christian Theological Seminary - Theology/Ministry - 1991-1995 (Master's degree received) Ball State University - Music Education - 1984-1988 (Bachelor's degree received) Hamilton Heights HS - College Prep - 1981-1984 (High School diploma received)
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Melissa M.
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Indianapolis, IN
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5 to 99
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Although my voice is particularly suited for classical music and classic music theater, I have also successfully taught students interested in more modern music theater, folk/acoustic rock, jazz, and gospel. I believe that students thrive when they’re allowed to sing the kind of music they prefer, as well as encouraged to broaden their scope.
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Illinois State University - music - August 2007-May 2009 (Master's degree received) Illinois Wesleyan University - music - August 2003-May 2007 (Bachelor's degree received)
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Indiana Guitar Studio
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Renee G.
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Vivan St.
Portage, IN
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Music Performance, Piano, Music Theory
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4 to 99
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My specialties are really motivating students to have fun learning to play the piano. We learn to read the notes, relate sound and express ourselves through the beauty playing the piano. I am willing to use a variety of styles to help students learn to play the piano such as classical, rock , pop, hymn, jazz and more through the variety of method books such as Alfred, Bastien, Faber and Faber, and more.
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Melissa M.
(877) 231-8505
E. 56th Street
Indianapolis, IN
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Piano, Opera Voice, Singing, Theatrical Broadway Singing, Music Theory
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5 to 99
Specialties
Although my voice is particularly suited for classical music and classic music theater, I have also successfully taught students interested in more modern music theater, folk/acoustic rock, jazz, and gospel. I believe that students thrive when they’re allowed to sing the kind of music they prefer, as well as encouraged to broaden their scope.
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Illinois State University - music - August 2007-May 2009 (Master's degree received) Illinois Wesleyan University - music - August 2003-May 2007 (Bachelor's degree received)
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Ferguson Guitar Studios
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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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