Hendrix often used the minor pentatonic (add2) scale (1–2–b3–4–5–b7).
So, how long should be piano lessons be? Piano lessons should last 30 minutes for young beginner students. For advanced and adult piano students,...
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Read More »Sure, Jimi Hendrix was known for being a strange, outta-sight cat and a wild, eccentric guitarist. But look past all the psychedelic mayhem and you’ll find some of the most beautifully melodic, rhythmically complex, and harmonically uncanny solos in rock. “Purple Haze” may feature some of the most fuzzed-out sounds on the planet but it also boasts a mini-masterpiece of an introduction as well as an E-Dorian solo to die for. “Third Stone From the Sun” is about as psychedelic as it gets but it also contains one of the most memorable octave riffs in the annals of rock. Hendrix could also tear your heart out with romantic single-string melodies, such as those in “May This Be Love,” or take you to faraway places with silky-smooth lines like those in “All Along the Watchtower.” And don’t forget, Hendrix could turn a blues phrase like no other—witness “Red House,” “Voodoo Chile,” and “Rainy Day, Dream Away.” Let’s take a look at a few of Hendrix’s soloing concepts, then put them together in an extended solo.
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Read More »Hendrix often achieved a massive sound by using octaves, as well as ringing open strings. Fig. 4 makes use of both techniques in an example inspired by “Third Stone from the Sun” (Are You Experienced). Be sure to mute the string that lies between the octaves with the underside of your fret hand’s 1st finger, at the same time letting the appropriate open string(s) ring. Fig. 5, a nod to the solo from “May This Be Love” (Are You Experienced), demonstrates Hendrix’s legato single-string work. Although the line is faster than greased lightening, the savvy rhythmic phrasing allows for the melody to come shining through. Definitely use the suggested fret-hand fingerings.
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Read More »Bluesy bends, based on the E minor pentatonic (E–G–A–B–D) and Bb major pentatonic (Bb–C–D–F–G) scales, take on the somewhat challenging Am–Bb–F changes in measure 7. Try to keep the G and B strings parallel as you execute the quarter-step, double-stop bend. Hendrix was a true bluesman, as exhibited in the aggressive moments of measure 8. Here, G major pentatonics overlap with the G blues scale (G–Bb–C–Db–D–F) in a fiery burst of slides, bends, and hammer-ons. Following this outburst, the solo winds down on a direct quote from the main riff of “The Wind Cries Mary” and closes with a gospel-approved “Amen” phrase.
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