Signature Sound Mc Kinney TX

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.

Maestro J. Rand Certain
825 Bellflower Dr. Certain Music
Plano, TX
Instruments
Composition, Conducting, Ear Training, Musicology, Piano, Theory, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
40 Years

Data Provided by:
Christina L.
(877) 231-8505
Greenstone Trail
Carrollton, TX
Subjects
Songwriting, Piano, Singing
Ages Taught
1 to 30
Specialties
Classical and Contemporary/Modern music
Education
Hebron High School - - August 2003 - May 2007 (not complete) University of North Texas - Jazz Studies - August 2007 - 2008 (not complete) Collin County Community College - Associate of Arts - August 2009 - present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Tim (William) K.
(877) 231-8505
Silver Buckle
Schertz, TX
Subjects
Music Theory, Acting, Guitar, Theatrical Broadway Singing, Trombone, Classical Guitar, Dance, Music Performance, Piano, Speaking Voice, Singing
Ages Taught
5 to 99
Specialties
Folk music, Kodaly, Orff
Education
UTSA - Music Literature - 1978-1984 (Bachelor's degree received) UTSA - Music Education - 1987-1988 (Bachelor's degree received) Texas State University - Music Education - 2001-2006 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Elizabeth M.
(877) 231-8505
Brentwood Stair Road
Fort Worth, TX
Subjects
Piano, Music Performance, Singing, Music Theory, Music Recording, Songwriting
Ages Taught
5 to 99
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Cheryl O.
(877) 231-8505
Cedarwood Ct.
Arlington, TX
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Specialties
I believe young students like to learn with touching and doing. I've use materials from Bastien, Thompson, Aaron along with aids I create for students to get the best learning experience. With adult students, we discuss what the goal is for taking lessons and in what ways they learn best.
Education
Illinois Wesleyan University - Music Ed - Piano - 1975-1979 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Marilyn S.
(877) 231-8505
Merrell Lane
The Colony, TX
Subjects
Music Theory, Piano
Ages Taught
4 to 99
Specialties
Piano, Handbells, Music Theory, Sight reading I can teach from any series, have tended to specialize more with beginning and intermediate students. I have taught from almost every series over the years. Right now I have students in Faber & Faber, Bastien, John Thompson, Schaum, David Carr Glover, Hal Leonard, FJH, Dozen a Day, and Alfred series. When students begin lessons with me and have a music series with which they have started, we can stay with that series. I think that breaking skills …
Education
University of North Texas - Educational Mid-Management Administrative Certification - 1981-1983 University of North Texas - Master of Music/Piano Performance - 1973-1977 University of North Texas - Bachelor of Music Education - 1969-1973 Sunset HS/Dallas - General - 1969
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Kathy Hutton Stallbaumer Piano Studio
(325) 653-3490
San Angelo, TX
 
Elsie Barba Piano Studio
Houston, TX
 
Ann Eckman Piano Studio
(817) 905-3293
Aledo, TX
 
Rob B.
(877) 231-8505
Metric Blvd.
Austin, TX
Subjects
Saxophone, Guitar, Banjo, Classical Guitar, Piano, Songwriting, Flamenco Guitar, Bass Guitar
Ages Taught
5 to 99
Specialties
I'm best at teaching students music that they want to learn. I specialize in rock and blues instruction. Don't own a banjo (learned on my daddy's), but am happy to pick one up if someone's interested (though they will probably need to provide one, don't know if I can buy two at the moment).
Education
Lubbock High School - N/A - 8/92-5/95 Texas Tech University - English-major Music-minor - 1/00-8/03 Goddard College - Creative Writing - 7/07-5/09
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Data Provided by:

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...

Click here to read the rest of the article from Keyboard Magazine

 
Subscribe Live Bookmarks Advertise Contact Us Privacy Policy Terms & Conditions
 



 
Keybord Magazine is a trademark of New Bay Media, LLC. All material published on www.keyboardmag.com is copyrighted @2009 by New Bay Media, LLC. All rights reserved