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Jimi Hendrix - All Along The Watchtower Pt.4 - Slide Solo, Main Solo & Outro - 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.4 - Slide Solo, Main Solo & Outro


Few guitar moments in rock demand as much simultaneous control as the slide solo, main solo, and outro of Jimi Hendrix's version of "All Along The Watchtower." The slide work alone requires clean intonation and smooth damping to stop unwanted string noise, while the main solo pushes your phrasing and vibrato hard. Getting the feel right is the real challenge: the bends need to sing without rushing the beat, and the outro builds intensity through repetition rather than speed. Work through each section in isolation before connecting them. The slide passages in particular will reward patience, so use the Practice Toolbar to loop those phrases slowed down until your slide placement feels natural. The key of C# minor shapes every melodic choice here, so knowing that tonality well will help you understand why certain bends and resolutions land the way they do.

  • The slide solo section requires precise glass or metal slide technique, with left-hand muting essential to keep unwanted string noise under control.
  • Phrasing in the main solo leans heavily on expressive string bends and wide vibrato, both of which need to be developed slowly before playing up to speed.
  • The outro guitar part builds through repeated melodic figures, making consistent tone and timing across repetitions the key thing to practise.

How to Play All Along The Watchtower Pt.4 - Slide Solo, Main Solo & Outro

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)