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.

Rebecca H.
(877) 231-8505
Clarington Ave.
Los Angeles, CA
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Music Theory, Piano, Music Performance
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3 to 70
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Piano: beg to adv - most comfortable with beg to inter I specialize in classical methods and incorporate theory and music history into all of my lesson plans.
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Mills College - Music - August 2009-Present (not complete) Loyola Marymount University - Music - August 2003-May 2007 (Bachelor's degree received)
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Julie M.
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Reseda, CA
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Piano, Singing, Songwriting, Speaking Voice, Organ, Guitar, Music Recording, Music Performance, Classical Guitar, Theatrical Broadway Singing, Opera Voice, Bass Guitar, Music Theory
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5 to 105
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I specialize in contemporary music styles, but I am very technique-oriented and I incorporate music theory in every style and instrument that I teach. My methods of teaching range from use of books from beginner to advanced styles, to my own personal lesson plans that I have accumulated over the years. I also specialize in one-on-one singer/songwriter clinics to help better writing styles, melody writing, chord structure, etc.
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Berklee College of Music - Voice/Composition - 1998-2001 (Bachelor's degree received) Saguaro High School - General - 1993-1997 (High School diploma received)
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Esther B.
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MarlinSeas CT.
Sacramento, CA
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Singing, Piano, Music Theory, Guitar
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5 to 80
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I teach the basic skills very strongly, and also encourage students and, challenge them, as well. I also have new techniques for teaching voice and piano.
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Sacramento City College - Music(voice&piano) - 1999 (Associate degree received) C.S.U.S. - Voice &piano - 2001 (Bachelor's degree received) C.S.U.S. - Voice&Piano - 2004 (Master's degree received)
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James T.
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55th St
San Diego, CA
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Guitar, Piano, Singing, Theatrical Broadway Singing
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5 to 99
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I begun private lessons at the age of 8 from my master teacher Dennis Harmon who is a graduate of Berkeley School of Music. At age 15, inspired by Jimmy Hendrix, I self taught myself guitar. Later within that same year I started attending vocal lessons from L.Rainkin who is recently retired as a veteran church organist and director.
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San Diego Mesa College - General Studies to Transfer 4yr College - Curnnetly Attending (not complete) San Francisco Community College - General Studies to Transfer 4yr College - 2004-2006 (not complete) San Diego City College - General Studies to Transfer 4yr College - 1998-2004 (not complete)
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Renee C.
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College Avenue
San Diego, CA
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Opera Voice, Theatrical Broadway Singing, Singing, Piano, Music Theory
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6 to 99
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Popular Styles, Jazz, Musical Theatre, Opera, Church Music
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San Diego State University - MM in Music/Voice - 1/07-12/08 (degree received) Point Loma Nazarene University - BM  in Music/Voice - 1/98-12/01 (degree received)  
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Andrew Street
Tracy, CA
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UC Berkeley - Political Science - 2005-2010 (Bachelor's degree received)
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Josh E.
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Encino, CA
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classical, pop
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University of Illinois - Music Open Studies - 2002-2006 (Bachelor's degree received)
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Rebecca H.
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Adams Ave
San Diego, CA
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4 to 99
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voice, classical, pop, Broadway, opera, Italian, piano I specialize in opera but sing many styles, including pop, classical, and theatrical Broadway; I teach all styles in piano.
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Plant City High School - College Prep - 1981-1984 Univ of South Florida - Music- Voice - 1984-1993 Univ of Calif. San Diego - MFA-Voice - 2001-2003
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Javier A.
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Gloria Dr.
Sacramento, CA
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Piano
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6 to 99
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Piano, Music Theory, Composition, Musical Elements Genres: Classical, contemporary, new age Methods: Keyboard Strategies by Schirmer, Beyer, Thompson, Hanon
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ETI - Electronics - 1984 - 1987 (degree received)
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Scott Myers
300 Crisp Ave
Vallejo, CA
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
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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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