Signature Sound Warner Robins GA

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.

Betsy Fitzgerald
5243 Riverside Drive No. 2004
Macon, GA
Instruments
Chorus, Conducting, Ear Training, Early Music, Harp, Music Business, Musicology, Piano, Theory, Voice
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Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
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$45
Years of Experience
16 Years

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Jennifer D.
(877) 231-8505
Martin Luther King, Jr. Parkway
Griffin, GA
Subjects
Piano
Ages Taught
5 to 99
Specialties
Classical, pop, church/sacred, Suzuki method, traditional methods, Yamaha keyboard music instruction; I tailor to the student.
Education
Georgia State University - piano performance - 8/85 - 5/88 (Bachelor's degree received) Georgia Southwestern State University - early childhood education - 9/92 - 8/94 (Master's degree received)
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Nathan S.
(877) 231-8505
Ormewood Ave SE
Atlanta, GA
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Music Theory, Piano, Bass Guitar, Guitar
Ages Taught
5 to 99
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Can teach classical piano, rock or r&b bass and guitar. I tend to include non-performance aspects in my lessons such as theory and songwriting.
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Florida State University - Piano Performance and Pedagogy - Fall 2000 - Fall 2004 (Bachelor's degree received) North Carolina School of the Arts - Music Composition - Fall 1997 - Fall 1999 (not complete)
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Sonya W.
(877) 231-8505
Briarhill Lane NE
Atlanta, GA
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Piano, Music Theory
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5 to 99
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Music theory, Chords, Scales,Keyboard, Piano, play by ear, Gospel, contemporary, modern, classical, r and b, pop, The talent of Success is nothing more than doing what you can do,well. Music
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Shaw High School - - 2002-2005 Troy University - Music Industry - 2005-2006 Georgia State University - Music Management - 2007- currently
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The Music Box Piano Studio
Valdosta, GA
 
Karin B.
(877) 231-8505
Delowe Dr
Atlanta, GA
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Music Theory, Piano, Singing
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5 to 99
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My method strongly emphasizes fundamental concepts in theory, technique and history. Over time, students learn common chord progressions leading to fundamental concepts of harmonization, transposition, improvisation and lead sheet reading. Sight-reading as well as fundamental techniques such as scales, arpeggios and other strengthening exercises are important areas of instruction. Moreover, students learn to develop sound practice strategies and techniques emphasizing arm weight, good posture…
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Georgia State University - Music - 2003-2006 (Master's degree received) University of North Texas - Music - 1988-1992 (Bachelor's degree received) Bishop Dunne High School - Diploma - 1983-1988 (High School diploma received)
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Calista W
113 Lotus Point Dr
Macon, GA
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Ear Training, Guitar, Harp, Music Therapy, Piano, Suzuki Method, Theory
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Advanced, Beginner, Intermediate
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$50
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15 Years

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Lark S.
(877) 231-8505
Walnut Hill Circle
Lawrenceville, GA
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Clarinet, Music Theory, Piano
Ages Taught
5 to 99
Specialties
I use the Bastien books with my younger students. For my older or more advanced students, I use Faber books. I prefer teaching older elementary students and up, although I have students as young as 5 yrs. old. I've taught some adults as well.
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University of Georgia - Music Ed., clarinet/piano - 9/1983-3/1988 (Bachelor's degree received) Montgomery CHS - college-prep. - 8/1979-5/1983 (High School diploma received)
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Judy Huang
203 Rocky Creek Drive
Griffin, GA
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Composition, Ear Training, Early Music, Electronic, Musicology, Other, Piano, Recording, Theory
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Classical, Electronic, Jazz, Kids, Other, World
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Advanced, Beginner, Intermediate
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$32
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6 Years

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Jessica J.
(877) 231-8505
westfield drive
Mableton, GA
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Percussion, Piano, Music Theory
Ages Taught
1 to 20
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Specializes in teaching children. Beginning and intermediate piano, beginning and intermediate snare drum and percussion
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Georgia College ad Stat Universty - Early Childhood educaion wth a minor in music - 2001-2003 (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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