Signature Sound Salinas CA

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.

Amber W.
(877) 231-8505
Alvarado Ave
Davis, CA
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Piano
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5 to 99
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Classical, Boogie Woogie, Broadway
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Santa Rosa Junior College - Liberal Studies - 8/2005-5/2007 (Associate degree received) Sonoma State University - Liberal Studies - 8/2007-5/2009 (Bachelor's degree received)
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Michael L.
(877) 231-8505
Burbank Blvd.
North Hollywood, CA
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Music Performance, Percussion, Piano, Songwriting, Drums
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5 to 99
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I am very accomplished on Drumset. I play and study all styles Jazz, Latin, Rock, Funk, Fusion, Big Band, World and all drumset concepts Linear, Compound stickings, Ghost Notes, Rudiments and rudimental application. Rhythm/Timing, Physiology Soloing, Ostinatos, Odd Meters, Odd Note Groupings, 4 way co-ordination,
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Musicians Institue - Drumset Percussion/Honors - March 1987-March 88 (Degree received) Southern NH Univ - General - Jan 2005 July 2006 (not complete)
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Alex V.
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N Vista Street
Los Angeles, CA
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Theatrical Broadway Singing, Opera Voice, Piano, Singing, Songwriting
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5 to 99
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Pop, Jazz, R&B, Pop-Rock, Country, Broadway, Classical.
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State High-school of Music - Riga, Latvia - singing, piano, composition - 1957 - 1968 (High School diploma received) State Conservatory of Latvia - singing, piano, musical directing - 1968 - 1973 (Master's degree received)
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Inna G.
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Cedar Dr
Citrus Heights, CA
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Music Theory, Theatrical Broadway Singing, Piano, Singing, Music Performance
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5 to 99
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Moldova Music School - Music - 1993-2000 (High School diploma received) Sierra College - Music - 2004-2008 (Associate degree received) Academy of Spiritual Music of Moskow - Conducting - 2007-2009 (Associate's degree received)) Sierra College - Music teacher /Transfer to SacState - 2004-2008 (Bachelor's degree received)
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Wes S.
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Round Top Dr
Los Angeles, CA
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Music Theory, Music Recording, Songwriting, Music Performance, Saxophone, Piano, Flute, Clarinet
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5 to 99
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I teach technique in saxophone, flute, clarinet and piano. I specialize in techniques for ear training (Learning songs quickly and remembering them.) and for improvisation within the genres of Jazz, Rock and R&B.
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University of Rochester - Music - 08/2004 - 12/2007 (Bachelor's degree received)
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Sashia K.
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Lomaland Drive
San Diego, CA
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Piano, Cello
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5 to 99
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I prefer to teach in a classical style. I usually use the Alfred's series for piano, and the Essential Elements series for cello. I also incorporate the Suzuki Method.
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Point Loma Nazarene University - Sociology - Aug 2004 - May 2008 (Bachelor's degree received)
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Marc L.
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Long Beach, CA
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I am primarily a classical pianist.
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University of California, Berkeley - Music - 2006-2010 (Bachelor's degree received) California State University, Long Beach - Piano Performance - 2010-2012 (not complete)
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Alex L.
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Camllia Dr.,
Fontana, CA
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16 to 99
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Accordion, piano, classical guitar Traditional Russian School
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California Baptist University (MM) - Music, Conducting - 2007-2009 University of Culture - Music, Orchestration - 1977-1979 College of Music (BM) - Music, Performance - 1971-1975 Music School #4 - Music Performence, Music Theory, Music Literature, Orchestra - 1964-1971 High School #3 - Languauge, Math, Siense - 1963-1973
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Bryan B.
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Pentecost Way
San Diego, CA
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Piano, Music Theory, Speaking Voice, Singing, Theatrical Broadway Singing, Music Performance, Opera Voice, Acting
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5 to 99
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I know the Alexander Technique, The Body Mapping Method, and can teach Proper Musical Theatre Belting. I can also teach proper technique for Classical singing which applies in the Classical, Musical Theatre and Pop worlds. I have a great stage presence and am able to teach my students proper song interpretation and acting skills. For piano, I work on building a strong techinique and linking exercises and warm ups to musical line and musicality.
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SDSU - Music Performance - 2007-2010
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Andy S.
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E 7th St
Los Angeles, CA
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Music Performance, Percussion, Drums, Guitar, Music Theory, Piano
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5 to 99
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My percussion knowledge is vast and I can teach any genre My guitar knowledge is considerably less, but I can teach from beginners to intermediate levels. My piano knowledge is beginner to novice level
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Berklee College of Music - Professional Music - 9/1991-5/1995 (Bachelor's degree received) New York University - Music/Composition - 9/1995-5/1997 (Master's 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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