Practice Studio

Jimi Hendrix - All Along The Watchtower Pt.3 - Solos Two & Three - Guitar Lesson

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Key C# minor
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South Saturn Delta album cover
South Saturn Delta
1968 4:01
Capo Advisor 0 C# minor · Original key

About All Along The Watchtower Pt.3 - Solos Two & Three


Solos two and three from Jimi Hendrix's take on "All Along The Watchtower" are where the real fingerwork demands your attention. Both solos lean hard on expressive string bending, vibrato control, and the kind of phrasing that sits slightly behind the beat to give each note room to breathe. In C# minor, every position shift and blues-phrased lick needs to feel relaxed even when the speed picks up, which is harder than it sounds. The temptation is to rush through the faster runs, so isolate each solo in the Practice Toolbar, slow it right down, and work on matching the pitch and width of every bend before you worry about tempo. Pay particular attention to how the phrases end: the release of a bend or the tail of a vibrato tells you as much about the style as the notes themselves. Clean up those details slowly before pushing back to full speed.

  • Both solos are rooted in C# minor pentatonic, so knowing that box shape cold before tackling the bends will save you a lot of frustration.
  • Hendrix's vibrato here is wide and slow rather than fast and narrow, making wrist technique and finger strength the main things to practise.
  • Looping each solo phrase slowed down is the most reliable way to nail the precise bend pitches, which are the defining detail of this style.

How to Play All Along The Watchtower Pt.3 - Solos Two & Three

Key: C# minor · Tempo: 114 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 114 BPM to build it up to tempo.

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.

Play with Backing Track

Play with Backing Track

Solo (Backing Track)

Solo (Backing Track)