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

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Key E minor
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About Little Wing Pt.1 - Intro


Few guitar intros demand as much from a single hand position as this one. Jimi Hendrix built the "Little Wing" intro around a technique that has become its own lesson: chord fragments voiced on the middle strings, with the thumb wrapping over the neck to fret the low E, while the fingers simultaneously pluck open strings above. The result is a flowing, harp-like wash where melody, bass, and inner voices move together rather than in sequence. Playing it in E minor, you need to think horizontally across strings rather than up and down the fretboard, letting open strings ring through each chord shape change. The tempo is slow and the feel is behind the beat, so rushing is the main trap for most players. Use the Practice Toolbar to loop just the first two or three chord movements slowed right down, watching carefully which strings ring free and which are fretted. Getting the sustain and the subtle hammer-ons between shapes is what separates a recognisable attempt from something that actually feels right.

  • The intro relies on Hendrix's thumb-over-the-neck technique, fretting bass notes on the low E while fingers voice chord fragments and catch open strings above.
  • Playing in E minor allows several open strings to ring sympathetically through each chord move, which is central to the harp-like sound of the part.
  • Small hammer-ons and pull-offs connect the chord shapes throughout the intro, so practising each transition in isolation with the Practice Toolbar is the most efficient approach.

How to Play Little Wing Pt.1 - Intro

Key: E minor · Tempo: 115 BPM

The intro to "Little Wing" is built around Hendrix's signature chord-melody technique in E minor, where the thumb wraps over the neck to fret bass notes on the low E string while the fingers voice chord fragments and melodic lines simultaneously. This thumb-over grip is the central challenge: without it, the voicings either fall apart or require awkward reframing, so isolate that hand position before attempting the full passage at 115 bpm. The most common pitfall is rushing the hammer-ons between chord stabs, which collapses the spacious, conversational feel the intro depends on. Use the section loop to isolate the opening bars and focus on matching Hendrix's light, dynamic touch rather than digging in with pick attack.

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 115 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.

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