Signature Sound Van Nuys 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.

Derek B.
(877) 231-8505
Woodman Ave.
Van Nuys, CA
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Songwriting, Guitar, Music Theory, Bass Guitar, Piano, Music Performance
Ages Taught
5 to 99
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My concentration in college was Jazz Guitar, but I'm definitely a Rocker at heart. I can teach all genres of music and guitar and every end of the theory spectrum.
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Columbia College - Music: Guitar Performance - 2004-2008 (Bachelor's degree received)
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Josh E.
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Babbitt Ave
Encino, CA
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Music Recording, Songwriting, Piano
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5 to 99
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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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Dorothea G.
(877) 231-8505
Nagle Ave,
Sherman Oaks, CA
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Music Theory, Piano, Music Performance, Music Recording, Songwriting
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5 to 40
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Unique features I offer: 26 years worth of in depth and varied musical experiences--All styles of piano: classical, contemporary, pop, jazz, gospel--Lessons on a baby grand OR new top grade keyboard/professional recording equipment--Set your own pace with flexible teaching times--MP3 recordings of lessons to enhance practice times away from lessons--Suggested reading materials--Suggested mobile downloads to complement learning--Opportunities throughout L.A. county to practice, perform and/or …
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Hiram College - Undergraduate/Music - 8/97-9/98 (not complete) Pima Medical Institute - Physical Therapy - 1999-2000 (Degree received) Pima Community College - Business Administration - 2003-2006 (not complete)
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Michael L.
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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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Garret S.
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Owensmouth Ave
Canoga Park, CA
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Piano, Mandolin, Music Performance, Theatrical Broadway Singing, Music Theory, Guitar, Songwriting, Singing, Bass Guitar
Ages Taught
15 to 60
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Guitar, Bass and Vocals: all the way to advanced Piano: beg I can sing and play virtually all styles of popular music--blues, rock, country, folk, jazz, latin, you name it. As a performing professional, the skill I call upon most is my ear. Once you learn to hear the chord changes and the rythmic subtleties in a piece of music, you can truly play along with anything. And because that skill directly impacts so many aspects of what we collectively call good musicianship, I tend to make ear deve…
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Laney College (Oakland, CA) - Music Theory & Composition - 1976-78 (Associate degree received)
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Anahit Sevoyan
Valley Glen
Valley Glen, CA
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Ear Training, Harpsichord, Musicology, Piano, Theory
Styles
Classical, Folk - Country - Bluegrass, World
Experience Levels
Advanced, Beginner, Intermediate
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$60
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37 Years

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Marisol A.
(877) 231-8505
Hartland Street
North Hollywood, CA
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Piano, Dance, Songwriting, Singing, Music Performance
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5 to 99
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Pop music, breathing technique, writing meaningful lyrics that tell a story.
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Pitzer College, a member of The Claremont Colleges - B.A. Media Studies - 2003-2007 (Bachelor's degree received)
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Julie M.
(877) 231-8505
Topeka Drive
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
Ages Taught
5 to 105
Specialties
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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Oleg G.
(877) 231-8505
Sepulveda Blvd,
Mission Hills, CA
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Piano
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7 to 99
Specialties
Bastien's and Alfred's
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University of Bridgeport - Music performance - 1993-1997 (not complete)
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Justin A.
(877) 231-8505
Porter Valley Drive
Porter Ranch, CA
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Classical Guitar, Piano, Music Recording, Music Theory, Percussion, Acting, Harmonica, Organ, Guitar, Music Performance, Speaking Voice, Songwriting, Trumpet, Singing, Drums, Bass Guitar, Mandolin, Theatrical Broadway Singing
Ages Taught
1 to 99
Specialties
Guitar and Bass: beg to adv Drums: beg to adv Vocals: beg to adv Piano: beg to interm Trumpet: beg Song writing, band arrangements, and orchestral compositions.
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Cal State Northridge (CSUN) - Music Composition - 2007-2008 (not complete) Pierce College - Music Composition - 2008-Present (not complete)
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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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