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Signature Sound Tampa FL

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.

Andrew H.
(877) 231-8505
Markstown Dr.
Tampa, FL
Subjects
Opera Voice, Singing, Piano, Music Theory, Theatrical Broadway Singing
Ages Taught
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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Lorraine M.
(877) 231-8505
Gulf stream circle
Brandon, FL
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Singing, Classical Guitar, Piano, Guitar, Music Theory
Ages Taught
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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Andrew G.
(877) 231-8505
Bay View Dr.
Safety Harbor, FL
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Music Theory, Trombone, Songwriting, Music Performance, Tuba, Singing, Piano, Trumpet
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1 to 99
Specialties
All styles of music and performance. (jazz/Classical,Pop, etc)
Education
North Stafford High - General Ed - 1992-1995 (High School diploma received) Radford University - Music - 1195-2000 (Bachelor's degree received) FIU/ - Jazz Edu - 2001-2002 (not complete)
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Zlatina A.
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49th Street North,
Pinellas Park, FL
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Music Theory, Opera Voice, Piano, Music Performance, Singing
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5 to 70
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High Scool of Music - Piano - 1993-1998 (degree received) National Academy of Music - Music education - 1998-2003 (degree received) National Academy of Music - Choir conducting - 1998-2004 (degree received)
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Teresa G.
(877) 231-8505
NE 125 Street,
Miami, FL
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Piano
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7 to 50
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I teach Classical piano.
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Orstein School of Music - Piano - 1989-90 (Degree received)
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Emily R.
(877) 231-8505
Villa View Circle
Tampa, FL
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Music Theory, Songwriting, Music Performance, Piano
Ages Taught
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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Lisa F.
(877) 231-8505
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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Nicole C.
(877) 231-8505
drew st
Clearwater, FL
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Guitar, Drums, Songwriting, Bass Guitar, Piano, Singing, Music Performance, Percussion
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5 to 99
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I have taught mostly rock and classical genres for piano, guitar, drums. Vocally, I teach Rnb, broadway, pop,, top 100.
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SUNY Old Westbury - Elementary Education - 1/00-5/03 (Bachelor's degree received) Dowling University - Literacy Education - 9/04-1/06 (Master's degree received)
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Martin D.
(877) 231-8505
Norwood Place
Clearwater, FL
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Bass Guitar, Classical Guitar, Piano, Guitar, Banjo, Music Theory
Ages Taught
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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Joseph Nibbs
1535 Ne 128th Street,North Miami fl 33161
North Miami, FL
Instruments
Electric Bass, Guitar, Piano, Theory
Styles
Blues, Classical, Jazz, World
Experience Levels
Intermediate
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$30
Years of Experience
15 Years

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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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