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If you have difficulties improvising over the chord changes in "Purple Haze", the techniques of Indian Raga would help you to improvise more effectively. If you want to know how to do it, keep on reading to find the answers.

Kenny P.
(877) 231-8505
23rd st
Brooklyn, NY
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Music Recording, Music Performance, Guitar, Songwriting, Music Theory
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9 to 30
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I have been teaching rock music mostly when it comes to playing. I try to involve music theory in everything I teach as well. My songwriting lessons are very involved in theory.
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Berklee College of Music - - 2005-2009 (Bachelor's degree received)
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Matt James
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Brooklyn, NY
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Beverley Rd.
Brooklyn, NY
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Music Performance, Bass Guitar, Songwriting, Piano, Guitar, Music Theory
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5 to 99
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Guitar, Bass, Piano, Songwriting, Performance, Music Theory, Rock, Pop, Country, Blues, R&B, Jazz, Funk, Classical, Folk
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The New School - Liberal Arts/Music - Jan 2010-present (not complete)
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Jennifer K.
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Hancock St
Brooklyn, NY
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Guitar, Music Performance, Piano, Music Theory, Songwriting, Speaking Voice
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5 to 99
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When teaching piano, because I specialize in classical, I emphasize sight-reading, theory and performance from the very first lesson. As soon as possible, I have student memorize pieces appropriate to their level. I begin each lesson with memory work, move into sight-reading and analysis of the new work, or exercise. This way a student has a multi-faceted approach to music they are learning, and once they have learned it, they are continually adding to their repertoire. I work this way becaus…
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Williams College - Music Major - September 1999-June 2004 (Bachelor's degree received) Conservatory of Music/ SUNY Purchase - Master of Music Classical Piano - September 2007-December 2010 (not complete)
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James B.
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Henry Street
Brooklyn, NY
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I teach almost all styles of guitar including Rock, Jazz, Blues, Classical and everything in between. The only genre I do not specifically teach is Flamenco Guitar. I studied and use the William Leavitt Guitar method, which is used at Berklee College of Music. Additionally I have developed several of my own techniques, embracing the use of standard notation, tablature and playing by ear.
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James Madison University - Psychology & Jazz Studies - 2000-2004 (Bachelor's degree received)
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55 Linden blvd 6E
Brooklyn, NY
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Beginner, Intermediate
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$35
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Gene S.
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east 7th street
Brooklyn, NY
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Guitar, Music Theory, Music Performance, Classical Guitar, Songwriting, Bass Guitar
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7 to 75
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I am able to teach most styles on the guitar but I specialize in jazz. But I am well versed in rock, blues and any other popular forms of music.
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William Patterson University - Jazz Performance - 1996-2000 (Bachelor's degree received) William Patterson University - Jazz Composition - 2000-2002 (Master's degree received)
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jeffrey k.
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ovington ave
Brooklyn, NY
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Piano, Music Theory, Organ, Songwriting, Bass Guitar, Guitar, Music Recording, Music Performance
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5 to 99
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I like to find out what styles of music and songs the student is interested in learning and teach them according to that. I've found that this keeps the student interested and makes them learn faster. I have a very good ear and can play almost anything.
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SUNY Purchase - Music composition - 88-92 (Bachelor's degree received)
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Cesar A.
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Patchen Ave
Brooklyn, NY
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Saxophone, Guitar, Music Performance, Speaking Voice, Music Recording, Music Theory, Songwriting
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5 to 99
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The primary focus of my work is in songwriting. My conservatory training is in Saxophone and Electronic music. I can teach guitar and music theory. I can also help students with singing in folk, rock and pop styles.
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Oberlin Conservatory - Saxophone/Electronic/Interdisciplinary Performance - 1999-2003 (Bachelor's degree received) Bard College - MFA in Music/Sound - 2006-2008 (Master's degree received)
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Division Street
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Ukulele, Songwriting, Singing, Music Performance, Guitar, Music Recording
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5 to 99
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I am interested in teaching unusual instruments such as ukulele, singing saw, electronic autoharp (and regular autoharp). I can also teach guitar (I have been playing myself for about 18 years), singing and songwriting. I have a very easy going style which consists of the two of us sitting one on one and starting with the basics, then moving on to learn others' songs (The Beatles or other stand by classics are a good place to start) and then trying to compose our own songs, as well, if there …
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Lincoln Academy - - 9/90 - 6/94 (High School diploma received) University of Maine, Augusta - Fine Art - 9/96 - 6/97 (not complete) Art Institute of Philadelphia - Animation - 9/98 - 6/00 (Associate degree received)
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The Music of Jimi Hendrix Applied to Indian Raga

The Music of Jimi Hendrix Applied to Indian Raga By Matthew Montfort

I began to think about the intersection between raga the music of Jimi Hendrix after seeing a photograph of Jimi in the front row of an Indian music concert, his mouth agape in awe of what he was experiencing.

One day a student of mine was having difficulty improvising over the chord changes in "Purple Haze," and I had the idea that the techniques learned by studying Indian music would help my student to improvise more effectively.

An Indian raga is a melodic recipe for a mood: a “super scale” using a set of notes in ascending and descending order, a hierarchy of note importance, and a key phrase that shows the heart of the movement of the raga. I was inspired to create a modern raga based on the guitar solo in "Purple Haze." Before I explain how to use this raga to create your own music that is tonally related to Hendrix’s solo, some explanation of the Indian system of music is necessary.

North Indian raga uses a system of solfeggio (i.e “do, re, mi, fa, so, la, ti, do”) known as sargam with seven note names per octave, starting with Sa (the tonic and main drone note) followed by Re (2), Ga (3), ma (4), Pa (5), Dha (6) and Ni (7). Indian music does not utilize the concept of perfect pitch where absolute note values are recognized. Sa can be set to any note, and is normally set to the most convenient place for the instrumentalist or vocalist. Just as in Western music, there are 12 main tones per octave, but there are also microtonal ornaments similar to the use of quarter tones in the blues. Indian raga uses a non-tempered tuning system where Sa and Pa are tuned a perfect just fifth apart. The other notes are close to the Western just tuning system, but the tuning of individual notes can vary from raga to raga. The word komal refers to the minor or flat version of a note, shuddh refers the natural or major version, and tivra refers to sharp or augmented version. Sa (1) and Pa (5) cannot be modified. Re (2), Ga (3) Dha (6) and Ni (7) can be either shuddh Re (M2), Ga (M3) Dha (M6) or Ni (M7), which correspond to the Western major intervals, or komal re (m2), ga (m3) dha (m6) or ni (m7), which correspond to the Western minor intervals. The note ma (4) can be either shuddh ma (P4), the natural perfect 4th, or tivra Ma (#4), which corresponds to the Western augmented fourth. In a common North Indian notation system, capital letter abbreviations are used for the version of the note that is highest in pitch and lower case letters for the note version lowest in pitch. For example, using this notation system, this is how a Western chromatic scale would be written:
.
S r R g G m M P d D n N S

Purple Raga
To improvise within Purple Raga, one should first practice the ascending and descending scales. Notice that the patterns zig zag: they don’t simply go straight up and down a scale. This allows a raga to prescribe more than simply a mode and to include melodic instruct...

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