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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.

Adam C.
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E. 40th St
New York, NY
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Guitar, Piano, Classical Guitar, Songwriting, Bass Guitar, Music Theory, Music Performance
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5 to 99
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I specialize in a diverse variety of styles on the acoustic and electric guitar, bass, and piano, and am particularly skilled at communicating and applying theoretical and musical knowledge in a simplified manner. I am particularly capable in rock guitar, and have performed regularly in a rock band over the last 10 years as well as the University of Rochester's popular music performance group No Jackets Required, where I served as the group's president. I also specialize in classical guitar, …
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University of Rochester - Music & Psychology - Fall, 2006-Spring, 2010 (Bachelor's degree received)
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Stephen S.
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music, voice, Opera, piano, guitar All levels, Really enjoy working with Beginners! classical, opera, broadway, pop, jazz, I'm a good voice builder! and motivator.
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Plainedge - liberal arts - 72-76 Cortland university - music - 76-80 Manhattan School of Music - voice,music history - 88-90
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Jason J.
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Windsor Terrace White Plains
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I have experience as well as training in Suzuki method. I have experience teaching Classical/Rock/Metal/Pop/Folk
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Parkway North, St. Louis MO - 09/97-04/01 (High School diploma received) UMKC Music conservatory, University of Missouri Kansas City - Music performance - 08/01-07/05 (Bachelor's degree received) Rudi E. Scheidt School of Music, University of Memphis - Music Performance - 08/05-05/07 (Master's degree received)
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Albert M.
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All styles but jazz. Rock, blues, folk, finger style, classical, punk, blues and all in between, from funk to punk, rock to metal. I also teach bass and drums.
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Fredonia U - Classical Guitar - 1984-1986 Nassua CC - Music - 1982-1984
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Michael Belajonas
146 Terrace Road
Bayport, NY
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$55
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25 Years

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rock, blues, metal, funk, acoustic..... chords, rhythm, theory, scales, modes, soloing, etc.... slap, fingering technique....
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IPFW - general studies - 1995-1996
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Jose G. M.
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St. Nicholas Place
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Classical, pop, reggae, acoustic, electrical guitar. Musicianship ( Music theory & sight singing) Music history.
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SUNY Stony Brook - Classical Guitar Performance - 2009-2010 (not complete) Conservatory of Music PR - Classical Guitar - 2004-2009 (Bachelor's degree received)
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Jordan D.
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W 170 St
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For the beginning student, lessons are focused on technique and fundamentals such as reading music, rhythm, etc. I use a variety of method books to work out of depending on what may best suit the individual student. For intermediate-advanced students, lessons can be geared towards more specific styles such as classical, jazz, ...
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University of Cincinnati - Classical Guitar - 2005-2009 (Bachelor's degree received) Manhattan School of Music - Classical Guitar - 2009-2011(expected) (not complete)
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Suki Rae
2350 Broadway Suite 1218
New York, NY
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Flute, Guitar, Other, Piano, Recorder, Voice
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Kenny P.
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23rd st
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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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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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