Music Shops Mattoon IL

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.

Mick A.
(877) 231-8505
S. Michigan Avenue
Chicago, IL
Subjects
Guitar, Percussion, Piano, Acting, Bass Guitar, Speaking Voice, Music Theory, Singing, Music Recording, Drums, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
Formerly certified Zuzuki instructor, good with very young children Excellent with professional and serious adult students
Education
American Conservatory Of Music - piano - 1964-72 (not complete) City Colleges of Chicago - education - 1984-86 (not complete) U.of I. Chicago - music/English - 1972-76 (Bachelor's degree received)
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Brett R.
(877) 231-8505
N. Dover St.
Chicago, IL
Subjects
Guitar, Music Recording, Music Performance, Songwriting
Ages Taught
10 to 55
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Rock, Blues, Pop, Singer-Songwriter
Education
University of Iowa - Journalism/English/Music - 1989-1993 (Bachelor's degree received)
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Thomas W.
(877) 231-8505
South Halsted St
Chicago, IL
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Music Theory, Guitar, Piano
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5 to 99
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I am most well versed in jazz guitar and pop/blues guitar. I also have a strong background in classical piano and am a strong sight reader. I teach Music composition, music theory, beginning banjo, music performance, and music recording.
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Columbia College Chicago - Instrumental Performance - 2005-present (not complete)
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Joseph M.
(877) 231-8505
N Main St.
Skokie, IL
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Bass Guitar, Flamenco Guitar, Guitar, Classical Guitar
Ages Taught
5 to 65
Specialties
I use Mel Bay and Berkley guitar methods for begining students for pick guitar. The Sagreras or Parkening methods for classical guitar. -I give students a well rounded education in all the major styles-techniques, teaching them finger picking as well as pick technique, chords and improvisation. -I specialize in building a strong foundation both musically and technically for people that have not played guitar or even music before and helping them to reach the musical goals they desire.
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Roosevelt University - Music, Business, - 1977-1982 (not complete)
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Mark W.
(877) 231-8505
N. Kildare
Chicago, IL
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Guitar, Music Performance, Bass Guitar
Ages Taught
1 to 99
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I specialize in rock and souther rock.
Education
Osage High School - general - 9/1979
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Daniel K.
(877) 231-8505
N Janssen Ave
Chicago, IL
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Bass Guitar, Piano, Guitar, Saxophone, Flute, Dance, Music Theory, Singing, Songwriting, Music Recording, Trumpet, Music Performance
Ages Taught
8 to 60
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Customized approach to the individual based on needs and goals.
Education
Argo Community H.S. - Academic - 1974-1977 (High School diploma received) Columbia College - Music Composition - 1987-1990 (Bachelor's degree received) DePaul University - Music Education - 2001-2001 (not complete)
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mike m.
(877) 231-8505
n fairfield
Chicago, IL
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Guitar
Ages Taught
5 to 99
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I specialize in an individualized lesson plan. Because I have learned many different styles of playing, i can cater to what the student wants to learn. If I am teaching a beginning student, patience is my key ingredient. We start with fundamentals and move forward. With a more mature student I typically work with them to advance themselves to the goals they already have for themselves .
Education
Hartford Art School - Painting - 01-05 (Bachelor's degree received)
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Bryan A.
(877) 231-8505
W Argyle
Chicago, IL
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Music Theory, Music Performance, Guitar, Classical Guitar, Songwriting
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4 to 99
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music, all styles of guitar, music theory Classical guitar, rock, folk, blues, jazz, pop, punk, metal
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Northwestern University - Music Performance - 2005-2007 Northeastern Illinois University - Music Performance - 2002-2005 Libertyville - - 1994-1998
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Ramsey Z.
(877) 231-8505
N Maplewood Ave
Chicago, IL
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Music Performance, Music Theory, Music Recording, Guitar, Classical Guitar
Ages Taught
5 to 90
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I specialize in improvisation. I always make sure to teach my students how to improvise so they can find their voice and develop their own style.
Education
Illinois State University - Music Business - August 2003-May 2009 (Bachelor's degree received)
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Joseph K.
(877) 231-8505
W. 64th PL
Chicago, IL
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Guitar, Music Recording, Drums
Ages Taught
5 to 99
Specialties
Guitar, Audio Engineering (Live and Studio), Music Production, Beginning Drum kit Rock, Folk, Reggae, Blues
Education
Cosmopolitan Prep - - 9/97-5/98 Columbia College Chicago - Audio Arts and Acoustics - 9/2004-5/2006
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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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