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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.

Brian K.
(877) 231-8505
162nd Street
Fresh Meadows, NY
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Piano, Classical Guitar, Music Performance, Music Theory, Guitar
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1 to 99
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I like to use a developmental lesson, with a clear aim for each lesson. Instead of giving the information to a student, I use questions to lead the students to the answer.
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Paqe University - Business - 9/97-5/08 (not complete) Manhattanville College - Music Education - 9/98-5/02 (Bachelor's degree received) Lehman College - Music Education - 9/05-1/07 (Master's degree received)
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andrew h.
(877) 231-8505
greenbriar lane
Port Washington, NY
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Guitar
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5 to 99
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I have a background in rock and metal. I have also studied jazz heavily along with composition. I can also sight read quite well.
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New England Conservatory of Music - Contemporary Improvisation - 9/08-3/10 (not complete) Berklee College Of Music - Guitar Performance - 9/06-6/08 (not complete)
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Joseph V.
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Crescent Road
Astoria, NY
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Bass Guitar, Music Theory, Upright Bass, Songwriting, Music Recording, Drums, Guitar, Percussion, Music Performance
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12 to 99
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Jazz, Rock, Funk, Pop, Rhythm and Blues, Slide Guitar
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Seton Hall University - History and Latin - Completed 2000 (Bachelor's degree received) NYU - Music - Completed 2003 (Master's degree received)
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Alexander S.
(877) 231-8505
35th Street
Astoria, NY
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Music Theory, Bass Guitar, Music Recording, Guitar, Music Performance
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5 to 99
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On guitar/bass, I specialize in pop, rock, country, blues, and jazz. If you need help with music theory and composition, I teach songwriting, composition, orchestration, traditional theory and counterpoint, as well as Contemporary/Jazz Music Theory, and Ear-training. For those interested in music production and engineering, I can show you how to use some of the tools available for computer (Pro-tools, Logic, Reason, Sonar, Peak, Final Cut Pro). And, I can teach you how to produce a song, reco…
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Berklee College of Music - Guitar, Music Production - 1998 - 2002 (Bachelor's degree received) New York University - Music Composition - 2004 - 2008 (Master's degree received)
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Mark V.
(877) 231-8505
Park Ave.
New York, NY
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Classical Guitar, Music Theory, Guitar
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5 to 99
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I have experience with many styles of guitar-playing, including jazz, classical, rock, and folk. Most of my performances have been in classical and jazz styles, though I have spent many summers playing acoustic guitar for camp fires. Professionally, I am a sound designer for theater, putting to use my training in music theory and composition. I have also composed original music for two full-length theatrical productions, as well as conducted an ensemble of eight musicians for one of those pro…
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Vassar College - Music - 9/06 - 5/10 (Bachelor's degree received)
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James Ludwig
2A Bar Beach Road
Port Washington, NY
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Electric Bass, Guitar
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Blues, Folk - Country - Bluegrass, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
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$50
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10 Years

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John Tibball
97-24 85th street
Ozone Park, NY
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Guitar, Other, Theory
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Blues, Folk - Country - Bluegrass, Kids, Other, Rock - Alternative
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Beginner, Intermediate
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$45
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5 Years

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Sarel R.
(877) 231-8505
Harris Ave.
Hewlett, NY
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1 to 99
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I am a jazz musician, I teach Jazz, improvisation skills (all instruments) and Music theory
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Boston Concervatory - Performance - Sep. 1998 (not complete) Berklee College of Music - Performance - Sep. 1989 (Bachelor's degree received)
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William Coppola
25-12 32nd Street Apt. 2
Astoria, NY
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Blues, Classical, Jazz, Kids
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Beginner, Intermediate
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$40
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2 Years

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Jamie R.
(877) 231-8505
Noll St.
Brooklyn, NY
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Music Theory, Theatrical Broadway Singing, Music Performance, Guitar, Opera Voice, Singing, Speaking Voice, Piano
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5 to 80
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I usually adjust my method to the student's needs. For example, if the student is not serious about music and wants to take lessons for fun, I will not pressure practicing (although communicate that it is important to practice in order to improve). However, if the student has a particular goal or is serious about music, I will usually teach a more detailed and intense lesson. Although I have a degree in voice performance, I have had a lot of theater education, and I focus my singing lessons o…
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University of Oregon - MFA Choral Conducting - 09/05-06/08 (Master's degree received) Syracuse University - BFA Voice Performance - 9/01-5/05 (Bachelor's 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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