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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.

Lorraine M.
(877) 231-8505
Gulf stream circle
Brandon, FL
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Singing, Classical Guitar, Piano, Guitar, Music Theory
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1 to 18
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Barry University - Music - 8/25/2005-12/19/2009 (Bachelor's degree received) Barry University - Biology - 8/25/2005-12/19/2009 (not complete)
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Eric F.
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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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Angela H.
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Jettie St. NE
Palm Bay, FL
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Piano, Singing
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5 to 99
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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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Kellner S.
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Northwest 67th St.
Miami, FL
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Music Performance, Trumpet, Music Theory, Piano
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1 to 99
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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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Andrew H.
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Markstown Dr.
Tampa, FL
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Opera Voice, Singing, Piano, Music Theory, Theatrical Broadway Singing
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7 to 99
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As a singer, I have equal experience in singing Musical theater, Christian Worship, and Classical Singing. I believe that good expressive technique is the foundation of all singing and this does not vary from style. It is the tone and vibrato that change from style to style. As far as piano, I am both an improvisatory pianist and a classical pianist. I have given lesson to students using the three hand method to develop students skills playing off of chords. I have also worked with students …
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Satellite High School - General - 2001-2005 (High School diploma received) University of South Florida - Music Composition - 2005-2009 (Bachelor's degree received)
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Rebecca S.
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SW 60 CT
Miami, FL
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Piano, Flute
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1 to 99
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Classical
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Grove City College - Music - Flute - Jan 2007-May 2009 (Bachelor's degree received)
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Martin D.
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Norwood Place
Clearwater, FL
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Bass Guitar, Classical Guitar, Piano, Guitar, Banjo, Music Theory
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5 to 99
Specialties
Guitar and Bass: Beg. to Advanced banjo and piano: Beg. - intermediate All Styles (except Flamenco) to include Folk, Acoustic Fingerstyle, Rock, Punk, Blues, Country, Church, Bluegrass, Soul, Ragtime and Classical.
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Excelsior College - Psychology - 1984-1986 (Bachelor's degree received) University of Maryland - Liberal arts - 1981-1983 (Associate degree received)
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Emily R.
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Villa View Circle
Tampa, FL
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Music Theory, Songwriting, Music Performance, Piano
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5 to 99
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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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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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Lisa F.
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Lafayette Place
Lutz, FL
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Music Theory, Piano, Music Performance
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3 to 99
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I specialize in teaching classical and popular repertoire. I have taught other styles as well as improvisation. I utilize a student centered approach structuring lessons to suit each student's individual goals.
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University of Southern Mississippi - Counseling Psychology - 1/88-12/89 (Master's degree received) Loyola University - Music and Psychology - 8/83-5/84 and 8/86-12/87 (Bachelor's degree received) New Orleans Center for the Creative Arts (NOCCA) And Andrew Jackson High School - Piano and College Preparatoy Classes - 8/82-5/83 and 8/79-5/83 (High School diploma 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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