Signature Sound Melbourne FL

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.

Angela H.
(877) 231-8505
Jettie St. NE
Palm Bay, FL
Subjects
Piano, Singing
Ages Taught
5 to 99
Specialties
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.
Education
Florida State University - Music Education- Vocal - August 2002- December 2006 (Bachelor's degree received)
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TakeLessons Music Teacher

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Eric F.
(877) 231-8505
SW 54th Way
Boca Raton, FL
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Trumpet, Music Theory, Music Theory, Guitar, Trumpet, Guitar, Bass Guitar, Bass Guitar, Music Performance, Songwriting, Songwriting, Music Performance, Piano, Piano, Music Recording, Music Recording
Ages Taught
12 to 99
Specialties
lydian chromatic theory, George Russell jazz, rock, pop, digital studio recording, record copying, recording techniques, mastering.
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Berklee College - Education - 1976-79 (Bachelor's degree received) New England Conservatory - Composition - 1991-93 (Master's degree received)
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Bonnie P.
(877) 231-8505
Donnelly Circle
Orlando, FL
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Oboe, Piano
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1 to 25
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Pop, Rock, Classical
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Dunedin High School - - 1973-1975 (degree received) University of South Florida - Music - 1976-1979 (degree received) University of Michigan - Music - 1979-1980 (degree received)
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Windy C.
(877) 231-8505
22nd Ave. N
Saint Petersburg, FL
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Piano, Music Theory
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5 to 18
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I try to combine classic pedagogy of piano with ear training and modern music. Proficiency in chords, scales, and improvisation.
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Florida Christian College - Music Education/Music Ministry - 2000-2006 (Bachelor's degree received)
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Andrew B.
(877) 231-8505
Cascades Park Trail Deland, FL
Deland, FL
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Music Theory, Guitar, Drums, Piano
Ages Taught
13 to 70
Specialties
Visualization method of practicing guitar: classical style, rock style, contemporary christian song style.
Education
Stetson University - Music Composition - 2008-2010 (not complete)
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Yvette M.
(877) 231-8505
Allan Lane
Melbourne Beach, FL
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Guitar, Piano
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1 to 99
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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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TakeLessons Music Teacher

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Angela H.
(877) 231-8505
Jettie St. NE
Palm Bay, FL
Subjects
Piano, Singing
Ages Taught
5 to 99
Specialties
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.
Education
Florida State University - Music Education- Vocal - August 2002- December 2006 (Bachelor's degree received)
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TakeLessons Music Teacher

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Virginia's Music Studio
(561) 747-6878
Jupiter, FL
 
Nicole C.
(877) 231-8505
drew st
Clearwater, FL
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Guitar, Drums, Songwriting, Bass Guitar, Piano, Singing, Music Performance, Percussion
Ages Taught
5 to 99
Specialties
I have taught mostly rock and classical genres for piano, guitar, drums. Vocally, I teach Rnb, broadway, pop,, top 100.
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SUNY Old Westbury - Elementary Education - 1/00-5/03 (Bachelor's degree received) Dowling University - Literacy Education - 9/04-1/06 (Master's degree received)
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Emily R.
(877) 231-8505
Villa View Circle
Tampa, FL
Subjects
Music Theory, Songwriting, Music Performance, Piano
Ages Taught
5 to 99
Specialties
I am partial to hymn arrangements and to the Romantic period composers such as Chopin and Rachmaninoff. I teach music by both detail and big picture; history plays such a part in music, and I teach my students the history along with the music and theory.
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University of South Florida - Interpersonal and Organizational Communication - 2004-2008 (Bachelor's degree received) University of South Florida - Minor in Music Academic Studies - 2004-2008 (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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