Signature Sound Newark NJ

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.

Bridget H.
(877) 231-8505
W Third Street
South Orange, NJ
Subjects
Piano, Theatrical Broadway Singing, Music Performance, Speaking Voice, Opera Voice, Music Theory, Singing
Ages Taught
5 to 99
Specialties
Classical singing, Musical Theater, Jazz, music for young children, beginner piano, pop singing, audition preparation, beginning music for adults
Education
University of Windsor - Vocal Performance - 2000-2003 (Bachelor's degree received) Manhattan School of Music - Classical Voice - 2005-2007 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Craig Woodward
35 Rock Street, #24
Jersey City, NJ
Instruments
Composition, Conducting, Ear Training, Piano, Suzuki Method, Theory
Styles
Classical, Jazz, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
15 Years

Data Provided by:
Renata O.
(877) 231-8505
Jersey Ave.
Jersey City, NJ
Subjects
Violin, Music Performance, Piano
Ages Taught
5 to 99
Specialties
traditional classical, suzuki, fiddle
Education
Bradley University - Music (violin) - 2000-2004 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Amy R.
(877) 231-8505
Garden St.
Hoboken, NJ
Subjects
Music Theory, Guitar, Music Performance, Piano, Songwriting, Singing
Ages Taught
5 to 99
Specialties
I specialize in pop, folk, and rock, but also have extensive training in classical and jazz, and can incorporate any of these genres into your lessons.
Education
Skidmore College - Music - 9/2003-12/2006 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Nina Green
40 Meeker St
Cranford, NJ
Instruments
Piano, Theory
Styles
Classical, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$56
Years of Experience
17 Years

Data Provided by:
Valeriya Tuz
161 Maplewood Ave., 3rd Fl
Maplewood, NJ
Instruments
Chorus, Composition, Conducting, Ear Training, Early Music, Electronic, Music Therapy, Piano, Recording, Theory, Voice
Styles
Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
20 Years

Data Provided by:
Ian S.
(877) 231-8505
Wayne Street,
Jersey City, NJ
Subjects
Songwriting, Bass Guitar, Piano, Guitar, Music Performance
Ages Taught
5 to 99
Specialties
I specialize in pop, rock, folk, and jazz, as well as beginner classical piano. I also teach improvisation and songwriting, and try to develop the student's ear for figuring out songs they like on their own.
Education
Rutgers University - Chinese / Economics - 1994-1998 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Soo C.
(877) 231-8505
Union Avenue
Rutherford, NJ
Subjects
Piano
Ages Taught
5 to 99
Specialties
building up fundamental knowledge technique improvement
Education
The Juilliard School - Piano Performance - 2004-2008 (Bachelor's degree received) The Juilliard School - Piano Performance - 2008-2010 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Mark F.
(877) 231-8505
Richmond Terrace
Staten Island, NY
Subjects
Piano, Music Theory, Songwriting
Ages Taught
5 to 99
Specialties
Jazz,Classical,Rock,R&B.
Education
Manhattan School of Music - music theory /piano minor - 1980-1984 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Laura Dreyer
(212) 643-0869
New York, NY
Instruments
Clarinet, Composition, Ear Training, Flute, Piano, Saxophone, Theory
Styles
Classical, Jazz, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$100
Years of Experience
25 Years

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

Local Events

Jenny's Penny Musical
Dates: 11/19/2019 – 11/19/2019
Location:
Riverdale Y Bronx
View Details
 
 
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