Signature Sound Worcester MA

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.

Kathleen N.
(877) 231-8505
Uxbridge St
Worcester, MA
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Trombone, Theatrical Broadway Singing, Music Theory, French Horn, Music Performance, Piano, Trumpet
Ages Taught
5 to 99
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A Performers Path To Sound And Healing Composers throughout time have sought for and attempted ascension upon Sound’s invisible wings. For me this sacred connection was remembered at the age of 5 on a Christmas morning when a toy trumpet sat calling to me from under the tree. I remember the tears of joy and recognition welling up from some deep and sacred place inside of me. Now, it is comical and precious to consider my parents’ bewilderment at this unexpected response to a plastic trumpet i…
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Ithaca College - Music Ed ,Applied Music - 1971-1975 (Bachelor's degree received) Yale Univ - performance and conducting - 1976-77 (not complete)
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Jean B.
(877) 231-8505
Waterford Dr
Worcester, MA
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Piano
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5 to 99
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Pop, Classical, Alfred, Thompson, Fletcher
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Bradford College - Creative Arts - 1979-1983 (Bachelor's degree received) University of Phoenix - E Commerce - 2003-2005 (Master's degree received)
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Karen DeBiasse
45 Franklin Street None
Somerville, MA
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Drums, Guitar, Piano, Voice
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$70
Years of Experience
28 Years

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Andrew A.
(877) 231-8505
Warren st
Brighton, MA
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Piano, Clarinet, Saxophone, Flute, Music Theory, Guitar, Music Performance
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1 to 99
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Sax: beg to adv Piano and Guitar: beg Improvisation Saxophone is my primary instrument and I can teach all levels of saxophone playing. I also play and can teach Beginner Clarinet, Flute, Guitar and Piano. I have years of experience both in the theoretical studies and performance of Jazz, Classical and Rock music, as well as other styles such as Latin Jazz, Funk and Experimental Composed and Improvised music.
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University of Vermont - Music - 2005-2009 (Bachelor's degree received) New England Conservatory - Music - 2010- (not complete)
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Erin M.
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Murdock St
Brighton, MA
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Music Performance, Piano, Songwriting, Singing, Acting, Theatrical Broadway Singing, Music Theory
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5 to 99
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For voice, I specialize in classical, jazz and rock/pop. For piano, classical, jazz and rock. I am always bringing in new, interesting genres to teach.
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Wooster School - - 2001-2005 (High School diploma received) Berklee College of Music - Professional Music - 2005-2009 (Bachelor's degree received)
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Jean B.
(877) 231-8505
Main St
Worcester, MA
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Piano
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5 to 99
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Pop, Classical, Alfred, Thompson, Fletcher
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Bradford College - Creative Arts - 1979-1983 (Bachelor's degree received) University of Phoenix - E Commerce - 2003-2005 (Master's degree received)
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Kyle B.
(877) 231-8505
Regal Road
Milford, MA
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Music Performance, Piano, Music Theory, Organ
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1 to 99
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I teach beginning piano students using the Schaum Piano Method Books. The primary genre of music that I teach is classical.
Education
Milford High School - - 2000-2004 (not complete) University of Massachusetts, Lowell - Music Education - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Organ Performance - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Music Education - 2009-present (not complete)
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Ming-Hui L.
(877) 231-8505
Park Vale Ave,
Allston, MA
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3 to 60
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music, Cello, Piano
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Stella Matutina Girls' High school in Taiwan - - -1999 Taipei National University of the Arts - Music - -2003 Peabody of Johns Hopkins University - Music - -2005 Boston University - Music - current
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Rachel P.
(877) 231-8505
Lords Court
Wilmington, MA
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5 to 18
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I specialize in a classical style for brass instruments and the piano.
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Eastman School of Music - Trombone Performance and Music Education - 9/98-12/02 (Bachelor's degree received) Boston University, College of Fine Arts - Trombone Performance - 9/03-5/05 (Master's degree received)
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Ming-Hui L.
(877) 231-8505
Commonwealth Avenue
Boston, MA
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Cello, Piano
Ages Taught
3 to 60
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music, Cello, Piano
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Stella Matutina Girls' High school in Taiwan - - -1999 Taipei National University of the Arts - Music - -2003 Peabody of Johns Hopkins University - Music - -2005 Boston University - Music - current
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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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