Signature Sound Scranton 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.

Gavin F.
(877) 231-8505
5th street
Charleroi, PA
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Piano, Songwriting, Opera Voice, Singing, Music Theory
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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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Sharon B.
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Yorkminster Road
West Chester, PA
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Piano
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5 to 99
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I'm a classically trained pianist. I teach students to read music. I teach all kinds of music not just classical.
Education
Loudoun County High - HS Diploma - 1978-81 (High School diploma received) West Chester University - Piano Performance - 1981-85 (Bachelor's degree received) Catholic University of America - Piano Performance - 1981-87 (Master's degree received)
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Chris D.
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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.
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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.
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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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Samantha D.
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Scenic View Dr
Macungie, PA
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Guitar, Piano, Clarinet, Saxophone, Violin, Music Performance, Music Theory, Oboe, Trombone, Flute, Trumpet, Tuba, Percussion, Cello
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5 to 99
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Classical, Contemporary, Pop, Christian, Band and Orchestra Repertoire, Favor Bastien and Alfred Piano Methods, Suzuki and other well know methods
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Clearwater Christian College - Music - Piano Performance - 2001-2003 (Bachelor's degree received) Pensacola Christian College - Music - Piano Performance - 1999-2001 (not complete)
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Grace D.
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Conestoga Rd
Bryn Mawr, PA
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Singing, Music Performance, Piano, Opera Voice, Acting, Theatrical Broadway Singing
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4 to 99
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I am an opera singer- so I specialize in classical singing. However I have also sung jazz and pop and done numerous musical theater productions and I would be willing to teach those as well. I have taken 13 years of piano and I would teach both classical and other more popular techniques including learning chords for lead sheets etc.
Education
St. Stephen's Episcopal School - August 2000-May 2004 (High School diploma received) Rice University - Bachelors in Music, and concentration in Visual Arts - August 2004-May 2008 (Bachelor's degree received) Texas State University - artist diploma - August 2008-jan 2009 (Degree received)
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Amitabha C.
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Hunters Pt
Greensburg, PA
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Opera Voice, Music Performance, Singing, Music Theory, Piano
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Opera Technique, Jerome Hines Four Voices
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University of Southern California - Music in Vocal Arts - 8/2008 - 5/2010 (Master's degree received) Mercyhurst College - Music in Vocal Performance - 8/2004 - 6/2008 (Bachelor's degree received)
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Candace L.
(877) 231-8505
Birchwood Drive
Norristown, PA
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Piano, Harp, Music Theory, Music Performance
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5 to 99
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Harp: Salzedo method Piano: Classical, Jazz, and Contemporary
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Creat And Performing Arts (CAPA) - Instrumental - 1995-1997 (High School diploma received) Arcadia University - Music Education - 1999-2005 (not complete)
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Mark S.
(877) 231-8505
Snyder Ave. 2nd
Philadelphia, PA
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Music Recording, Harmonica, Bass Guitar, Songwriting, Upright Bass, Singing, Piano, Guitar, Music Theory
Ages Taught
5 to 99
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I teach rock blues, jazz, classical, and pop music.
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Colorado State University - music - 1996-2000 (Bachelor's degree received) Cambridge - ESL - 2001 (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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