Guitar Songs, Tabs & Lessons

Jimi Hendrix

26 guitar songs · Tabs, Lessons & Tone Guide Psychedelic Rock

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Little Wing - Guitar Tab Guitar Tab

Little Wing - Guitar Tab

YouTube Stats: 2.8M · 45K

Angel - Guitar Tab Guitar Tab

Angel - Guitar Tab

YouTube Stats: 36K · 924

Little Wing Pt.1 - Intro - Guitar Lesson Guitar Lesson

Little Wing Pt.1 - Intro - Guitar Lesson

YouTube Stats: 2.7M · 20K

Little Wing - Guitar Cover Guitar Cover

Little Wing - Guitar Cover

YouTube Stats: 292K · 7.3K

Artist Overview

History and Guitar Legacy

Jimi Hendrix emerged from Seattle in the mid-1960s and redefined electric guitar in barely four years of recording. Leading the Jimi Hendrix Experience with Noel Redding and Mitch Mitchell, then Band of Gypsys with Billy Cox and Buddy Miles, he fused blues, rock, R&B, and psychedelia into an original style. Every electric guitarist since has operated in his shadow, as he combined raw blues phrasing from Albert King and Muddy Waters with entirely new vocabulary of feedback, wah-wah textures, octave effects, and whammy-bar manipulation.

Playing Style and Techniques

Hendrix was a true rhythm-and-lead player simultaneously, weaving chord embellishments, double-stops, and melodic fills seamlessly. His iconic dominant 7-sharp-9 voicing (the Hendrix chord) mastered blurred lines between major and minor tonalities. He pioneered expressive volume and tone knob manipulation mid-phrase, rolling back for clean chords and pushing forward for singing sustain. His lead work ranged from aggressive pentatonic shredding to delicate behind-the-beat phrasing to controlled feedback sculpting, demonstrating remarkable versatility across multiple playing approaches.

Why Guitarists Study Jimi Hendrix

Hendrix teaches guitarists to think beyond categories through his mastery of rhythm voicings and lead techniques. His chord work provides essential lessons in creating ambiguity and expression through unconventional voicings. His lead vocabulary spans aggressive pentatonic lines to nuanced phrasing to feedback manipulation, offering comprehensive study across multiple musical textures. Understanding Hendrix's approach to simultaneous rhythm and lead playing develops overall musicianship and expands harmonic and melodic thinking in ways few artists can match.

Difficulty and Learning Path

Songs like Hey Joe and Foxy Lady suit intermediate players with straightforward chord shapes and pentatonic riffs. Truly capturing his style requires advanced skills: relaxed thumb-over-the-neck technique, fluid hammer-on and pull-off embellishments within chords, precise whammy bar control, confident bending with wide vibrato, and real-time improvisation around rhythm parts. Pieces like Little Wing demand exceptional rhythmic independence and ornamental fills in every bar. Serious time with Hendrix yields enormous payoff for overall musicianship and technical development.

What Makes Jimi Hendrix Essential for Guitar Players

  • Hendrix pioneered the 'thumb-over-the-neck' fretting technique, wrapping his left-hand thumb over the low E string to fret bass notes while his remaining fingers played chord embellishments and melodic fills on the higher strings. This is absolutely essential for songs like "Little Wing" and "The Wind Cries Mary", without it, those chord-melody passages are nearly impossible to execute fluidly.
  • His use of the dominant 7#9 voicing, the so-called 'Hendrix chord', became a signature sound heard prominently in "Purple Haze" and "Foxy Lady." The shape stacks a sharp nine against a major third, creating that gritty, ambiguous bite. Learning to grab this voicing cleanly and add rhythmic flair around it is a core Hendrix skill.
  • Hendrix was a master of incorporating double-stops, hammer-ons, pull-offs, and slides into his rhythm playing in real time, making his accompaniment sound like a full arrangement. On "Little Wing," almost every chord transition includes ornamental fills using the pentatonic and major scales, study these note-by-note to level up your chord embellishment game.
  • His whammy bar technique ranged from subtle pitch wobbles for vibrato to dramatic dive-bombs and controlled feedback manipulation, as heard on "Star Spangled Banner" and "Voodoo Child." He used the bar as an expressive tool, not a gimmick, learn to incorporate gentle bar vibrato into sustained notes for that vocal, singing quality.
  • Hendrix's blues soloing on tracks like "Red House" and "All Along The Watchtower" showcases wide string bends (often a tone and a half or more), aggressive vibrato generated from the wrist, and an instinct for phrasing that breathes. His solos leave space, studying when he doesn't play is just as important as learning the notes he does.

Did You Know?

Hendrix was a natural right-hander who played a right-handed Fender Stratocaster flipped upside down and restrung for left-handed playing. This reversed the string angle at the nut and bridge, subtly changing the string tension and contributing to his unique tone, the low strings had slightly more slack and the high strings felt tighter than on a standard setup.

The legendary solo tones on "All Along The Watchtower" were achieved in part by recording multiple guitar overdubs with different amp settings and combining them, engineer Eddie Kramer stacked takes to create that massive, layered sound. There are at least four distinct guitar parts on the track.

Hendrix often tuned his guitar down a half step to Eb standard (Eb Ab Db Gb Bb Eb), which gave his strings a slinkier feel for bending and contributed to the slightly darker, heavier character of his tone compared to standard-tuned players.

On "Voodoo Child (Slight Return)," the iconic opening wah-wah riff was essentially a first take from a jam session. The track captures Hendrix improvising with the wah pedal in a way that made the guitar sound almost vocal, he was rocking the pedal in rhythm with his picking attack.

Hendrix would sometimes play with his guitar's pickup selector in the 'in-between' positions on his Stratocaster, positions 2 and 4, which on vintage Strats weren't detented and required balancing the switch. These out-of-phase tones became a hallmark of his cleaner rhythm sounds, especially on "Little Wing."

He used lighter gauge strings (typically .010 sets) at a time when most blues and rock players were still using heavy .012 or .013 gauge sets. This made his aggressive bending style physically possible and influenced the lighter string trend that followed.

During the recording of "Purple Haze," Hendrix ran his guitar through an Octavia pedal built by Roger Mayer, which doubled the signal an octave up. That buzzy, almost synth-like quality in the solo section was one of the first uses of octave-fuzz on a major rock recording.

Essential Albums for Guitarists

Electric Ladyland album cover
Electric Ladyland 1968

This is the ultimate Hendrix guitar album. "All Along The Watchtower" teaches layered overdub thinking and phrasing across multiple solos (including slide guitar), "Voodoo Child (Slight Return)" is a wah-wah masterclass in aggressive pentatonic riffing, and the 15-minute "Voodoo Chile" is a slow blues workout in bending, dynamics, and improvisation. The production is also more polished, making it easier to hear exactly what Hendrix is doing on each part.

Are You Experienced album cover
Are You Experienced 1967

The debut album is where you start learning Hendrix fundamentals. "Purple Haze" introduces the 7#9 chord and octave-fuzz soloing, "Foxy Lady" teaches heavy riff construction with feedback control, "Hey Joe" is one of the best intermediate-level chord songs in rock, and "Red House" is an essential 12-bar blues workout with expressive bending and slow-burn phrasing. Every track is a lesson in a different aspect of his playing.

Axis: Bold as Love album cover
Axis: Bold as Love 1967

This album showcases Hendrix's more refined, melodic side. "Little Wing" is arguably the most important chord-embellishment piece in rock guitar history, learning it note-for-note will transform your rhythm playing. "Bold as Love" features lush, phased clean tones and beautifully constructed solos, while "Spanish Castle Magic" teaches tight, aggressive riffing with rhythmic precision. Essential for guitarists who want to go beyond power chords.

Tone & Gear

Guitar

Fender Stratocaster, specifically right-handed models flipped and restrung for left-handed playing. Hendrix used various years and finishes (the white '68 Olympic White Strat from Woodstock is iconic, as is the black Strat from the Monterey era), all featuring the standard three single-coil pickup configuration, maple necks, and synchronized tremolo bridges. The reversed headstock changed string break angle and tension, subtly affecting tone and tuning stability. He typically tuned down a half step to Eb.

Amp

Marshall Super Lead 100-watt heads (Model 1959) paired with 4x12 cabinets loaded with Celestion Greenback speakers were his primary live and studio amps, cranked to high volume for natural tube saturation and harmonic richness. He also used Fender Twin Reverbs and Fender Bassman amps in the studio for cleaner tones and different breakup characteristics. In his later career he incorporated Sunn amps for additional low-end power. The key was always pushing the amp hard, Hendrix's distortion came primarily from the power tubes, not pedals.

Pickups

Stock Fender single-coil pickups typical of late-1960s Stratocasters, relatively low output with bright, glassy articulation and pronounced string-to-string separation. The single-coils were crucial for his clean sparkle and those characteristic in-between position quack tones on "Little Wing." When driven hard into a cranked Marshall, they produced a singing, harmonically rich overdrive without the compressed thickness of humbuckers, allowing his dynamics and touch sensitivity to come through clearly.

Effects & Chain

Dallas-Arbiter Fuzz Face (germanium transistor version) for his signature thick, sustaining fuzz tone on tracks like "Purple Haze" and "Foxy Lady." Vox Wah (later Cry Baby) used expressively as a tone-shaping tool, not just on-off, but rocked rhythmically mid-riff as heard on "Voodoo Child (Slight Return)." Roger Mayer Octavia for octave-up fuzz effects on solos. Uni-Vibe for swirling, rotary-speaker-style modulation on tracks like "Machine Gun." Typical signal chain ran: guitar → wah → Fuzz Face → Octavia → Uni-Vibe → amp. He also creatively used the Stratocaster's volume knob to clean up the fuzz in real time.

Recommended Gear

Fender Stratocaster
Guitar

Fender Stratocaster

Hendrix's reversed left-handed Strats with stock single-coils delivered bright, articulate tone with pronounced string separation that sang when driven through cranked tubes. The in-between pickup positions created his signature quack tones, while the volume knob let him dynamically shape fuzz in real time.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Hendrix pushed the Marshall 1959's power tubes to natural saturation, generating thick, harmonically rich overdrive that became his signature sound. The amp's aggressive breakup complemented his single-coils perfectly, delivering singing sustain without compressing his dynamic touch.

Fender Twin Reverb
Amp

Fender Twin Reverb

In the studio, Hendrix used the Twin Reverb's cleaner headroom to capture sparkling, articulate tones and explore different breakup characteristics than the Marshall. Its built-in reverb added spaciousness to tracks like 'Little Wing' without relying on external effects.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Hendrix treated the Cry Baby as an expressive tone-shaping tool, rocking it rhythmically mid-riff on 'Voodoo Child' rather than just switching it on and off. The pedal's resonant sweep perfectly complemented his fuzz textures and added vocal-like expressiveness to his soloing.

How to Practice Jimi Hendrix on GuitarZone

Every Jimi Hendrix song page on GuitarZone includes a built-in Practice Toolbar. No app to download, no account needed. Open any song, then use the toolbar to slow the video to 0.5× speed, set an A/B loop around the exact riff you're working on, and jump between song sections instantly.

The toolbar appears automatically on every guitar tab, lesson, and cover page. Pick a song below, hit play, and start practicing at your own pace.