Signature Sound Pittsburgh PA

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.

Patricia C.
(877) 231-8505
Toohey Rd
Murrysville, PA
Subjects
Music Theory, Piano
Ages Taught
5 to 12
Specialties
I am most experienced in using the Bastien and Alfred method books for piano. For beginner to intermediate students both methods include a lesson book, theory book, technique book and performance/solo book. I specialize in the classical music genre.
Education
Allegheny College - Music and Economics - 1998-2002 (Bachelor's degree received)
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Susan T.
(877) 231-8505
15th ave
Prospect Park, PA
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Drums, Flute, Trumpet, Clarinet, Piano, Saxophone, Percussion
Ages Taught
3 to 99
Specialties
Classical and jazz
Education
Interboro High School - - 1985-1989 (not complete) Temple University - Music - 1989-1995 (not complete)
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Kim Pritchard
411 Seville Dr
Red Lion, PA
Instruments
Piano, Saxophone
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Classical, Jazz, Kids
Experience Levels
Beginner, Intermediate
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$36
Years of Experience
10 Years

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Kimberly Brennan
5455 Walnut Lane
Zionsville, PA
Instruments
Chorus, Ear Training, Music Therapy, Piano, Theory, Voice
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Classical, Kids, Other
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Advanced, Beginner, Intermediate
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$50
Years of Experience
20 Years

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Allison G.
(877) 231-8505
Ardmore Ave.
Ardmore, PA
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Music Performance, Piano, Theatrical Broadway Singing, Music Theory, Dance, Singing
Ages Taught
5 to 15
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I specialize in classical music both piano and voice, and also basic music theory. (Although I could teach more advanced theory if needed). I am very well educated in Vocal Diction for English, Spanish, Italian, Latin, French and German.I also studied Broadway style music shortly and very much enjoy playing/singing in that style and would love to teach it as well.
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Eastern University - Music - 2004-2008 (Bachelor's degree received)
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Chris D.
(877) 231-8505
Thornton Court
Souderton, PA
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Piano
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5 to 99
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I am most familiar with classical because that is what I was mostly trained in. However, I work well with students who enjoy learning pop, rock and contemporary styles. I work out of Faber's Piano Adventures series but supplement with scales, arpeggios and repertoire that I find suitable for the student.
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West Chester University of Pennsylvania - Music - 2004-2009 (Bachelor's degree received) Cabrini College - Masters of Education - Beginning Part time Fall 2010 (not complete)
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Ian V.
(877) 231-8505
East Girard Ave.
Philadelphia, PA
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Music Theory, Bass Guitar, Guitar, Piano, Upright Bass, Music Performance
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8 to 99
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I specialize in Jazz and Improvisation. Upright and Bass guitar are specialties in the realm of Rock, Jazz, R&B, Reggae, and Funk.
Education
Central Bucks East - - 1993-1995 (High School diploma received) New School for Social Research - Music Performance Jazz and Contemporary Music - 1998-2000 (Bachelor's degree received) University of the Arts - Music Education - 2007-2008 (not complete) Temple University - Music Education - Fall 2009- (not complete)
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Dena C.
(877) 231-8505
Blair Mill Rd.
Horsham, PA
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Guitar, Piano, Singing
Ages Taught
6 to 99
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Musical theatre, Adaptive music lessons (for learning differences).
Education
Sperry HS - music, theatre - 1975-1979 (High School diploma received) SUNY Potsdam - music education - 1982-1985 (Bachelor's degree received) Temple University - music therapy - 1896-1993 (Master's degree received)
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Amy A.
(877) 231-8505
Pequea Avenue
Honey Brook, PA
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Music Theory, Theatrical Broadway Singing, Opera Voice, Trumpet, French Horn, Piano, Singing, Music Performance, Speaking Voice
Ages Taught
5 to 99
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My training is in classical music but I teach other genres as well.
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Bucknell University - Music - 1990-1994 (Bachelor's degree received) Cherry Hill HS East - general - 1986-1990 (High School diploma received)
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Gavin F.
(877) 231-8505
5th street
Charleroi, PA
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Piano, Songwriting, Opera Voice, Singing, Music Theory
Ages Taught
5 to 99
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I sing and teach the bel canto method and classical piano. Music theory I test students in a subjective manor and incorporate it with their major instrument.
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Seton hill university - - 08-present
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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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