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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.

Ian M.
(877) 231-8505
W. Grand Ave
Lake Villa, IL
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Classical Guitar, Guitar, Music Theory, Flamenco Guitar, Bass Guitar, Music Recording, Music Performance, Songwriting
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5 to 99
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Again, I am very confident in my teaching skills. I love so many genres of music that its hard to say where my best talents lie. But no matter what the style, I will say one thing that I have always been strict about is proper technique and rhythm. I feel like timing is something that a lot of musicians lack and often have to learn the hard way later on. I try to incorporate it soon after and onward after a beginner's first lessons.
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(847) 223-7979
33113 N Us Highway 45
Grayslake, IL
 
Jeremy K.
(877) 231-8505
w. Broadway
Waukesha, WI
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Bass Guitar, Classical Guitar, Mandolin, Music Theory, Music Performance, Music Recording, Songwriting, Guitar
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5 to 99
Specialties
Rock, Blues, Jazz, Country, Metal, Classical, Fingerstyle
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Waukesha Country Technical College - Applied Science of Automotive Technology - 1998-2000 (Associate degree received) University of Wisconsin-Milwaukee - Music Performance-Jazz Guitar - 2008 (not complete)
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Ten Fingers Guitar LLC
(608) 846-9734
801 Brook St
De Forest, WI
 
PianoDrumsGuitar.com
(715) 340-4499
2401 Clark St
Stevens Point, WI
 
A-Major Music INC
(847) 623-8565
3701 Grand Ave Ste B
Gurnee, IL
 
Joseph S.
(877) 231-8505
76 n 38 ct
Milwaukee, WI
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Guitar
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5 to 99
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I specialize in fingerstyle guitar and some flatpicking. I am great with beginner guitar players.
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Milwaukee area technical college - Present - 2010 (not complete)
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Sara d.
(877) 231-8505
South Street
Waukesha, WI
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Songwriting, Classical Guitar, Music Theory, Music Performance, Guitar, Singing
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5 to 99
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Diploma in Classical Guitar Performance and Education. Experience in theater as both musician and actress. Interests and experiences in performance of various musical genres as guitarist and vocalist both solo and as part of ensembles and groups.
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Santa Cecilia Conservatory of Music (Rome, Italy) - Classical Guitar - 2002-2010 (Degree received)
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Maximum Voice Music Studios
(920) 257-4381
611 N Lynndale Dr
Appleton, WI
 
Sunny Roads Guitar-Bass Lssns
(715) 723-1500
15 1/2 W Central St
Chippewa Falls, WI
 
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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:
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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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