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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.

Rick Kirkpatrick Guitar Lssns
(530) 205-5821
314 Spring St
Nevada City, CA
 
Andrew K.
(877) 231-8505
w 3rd st
Pomona, CA
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Guitar, Music Theory, Music Performance, Classical Guitar, Songwriting
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5 to 20
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I specialize in the pop-rock genres
Education
Cal Poly Pomona - Music Performance - 2005-2009 (Degree received) Cal Poly Pomona - Civil Engineering - 2005-2009 (Bachelor's degree received) College of the Desert - Liberal Arts - 2002-2005 (Associate degree received)
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Adam H.
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argyle av.
Los Angeles, CA
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Bass Guitar, Music Theory, Songwriting, Music Performance, Guitar, Flamenco Guitar
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8 to 80
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I Specialize in advanced electric guitar techniques and styles
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musicians institute - Guitar performance - 04/15/2009 -- 09/17/2010 (Associate degree received) Home schooled - - (Degree received)
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Kristina B.
(877) 231-8505
Bush St.
San Francisco, CA
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Songwriting, Music Theory, Singing, Guitar
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4 to 99
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Voice, Guitar, Vocal Technique, Range, Improvisation, Music Theory, Songwriting I specialize in Pop/Rock/Jazz/Country/Indie Rock and Musical Theater genres.
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Boston University - Communications - 9/95 ~ 5/96 Berklee College of Music - Voice/Music Business/Music Therapy - 9/97 ~ 5/99 University of Massachusetts - Sociology/Psychology - 9/99 ~ 8/00 Barnstable High - All - 9/91 ~ 6/95
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Fernando H.
(877) 231-8505
S Central Ave
Glendale, CA
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Music Performance, Bass Guitar, Music Theory, Guitar, Songwriting, Music Recording
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5 to 99
Specialties
Berklee method, Musicians Institute, Alfred, Mel Bay, Ernie Ball, Hal Leonard, Suzuki, Yamaha
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Fullerton college - Music - 1993-1999 (Associate degree received) Musicians Institute - Music - 1989-1990 (Degree received) Berklee college of Music - Prof Music - 2001-2003 (Bachelor's degree received)
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TakeLessons Music Teacher

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Soundcheck Music
(530) 272-7236
671 Maltman Dr Ste 5
Grass Valley, CA
 
Brian R.
(877) 231-8505
Greendale Ln
Pomona, CA
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Bass Guitar, Guitar
Ages Taught
5 to 99
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As I've taught students from 5 years old to retirees (who refused to give their age!), I've found that every student is different and thus so is the approach in teaching them. My goal is to first find out the students goals and build a curriculum around achieving that goal asap.
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Pasadena City College - General - 86-Present (not complete)
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James T.
(877) 231-8505
55th St
San Diego, CA
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Guitar, Piano, Singing, Theatrical Broadway Singing
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5 to 99
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I begun private lessons at the age of 8 from my master teacher Dennis Harmon who is a graduate of Berkeley School of Music. At age 15, inspired by Jimmy Hendrix, I self taught myself guitar. Later within that same year I started attending vocal lessons from L.Rainkin who is recently retired as a veteran church organist and director.
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San Diego Mesa College - General Studies to Transfer 4yr College - Curnnetly Attending (not complete) San Francisco Community College - General Studies to Transfer 4yr College - 2004-2006 (not complete) San Diego City College - General Studies to Transfer 4yr College - 1998-2004 (not complete)
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Jordan L.
(877) 231-8505
Franklin Ave
Los Angeles, CA
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Music Performance, Bass Guitar, Guitar
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5 to 99
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Familiar with Mel Bay method and the standard Musician's Institute method/style as it pertains to guitar performance. Genres: Rock, Metal, Blues, Country, Jazz, Fusion, Rockabilly, Folk.
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Yuba Community College - Music - 2006-2008 Musician's Institute - Music - 2009-2010)
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Gino J.
(877) 231-8505
Island Cir,
Huntington Beach, CA
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Piano, Music Recording, Music Theory, Music Performance, Classical Guitar, Bass Guitar, Guitar
Ages Taught
5 to 99
Specialties
Acoustic and Electric Guitar: beg to adv Bass Guitar: beg to adv Piano: beg to inter Electronic Keyboards: synthesizers, software, recording, sequencing I am adept in the following music styles & genres: classic rock, modern rock, metal, pop radio hits from 70’s, 80’s, 90’s, & current top40, blues, r&b. Also have jazz background in these genres: swing, bebop, smooth jazz, fusion, Brazilian, Latin. I like to use different teaching formats: notation, tab, transcribing, ear training, theory, vid…
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Cosumnes River College - Music - (not complete)
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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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