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Jimi Hendrix - Little Wing Pt.2 - Verse Section - Guitar Lesson

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Jimi Hendrix - Little Wing Pt.2 - Verse Section - Guitar Lesson

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Jimi Hendrix - Little Wing Pt.2 - Verse Section guitar lesson video
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Little Wing Pt.2 - Verse Section

"Little Wing" is one of Jimi Hendrix's most celebrated compositions, showcasing his signature blend of soulful melody and innovative electric guitar technique. The verse section serves as a masterclass in chord embellishment, where Hendrix weaves single-note runs and hammer-ons directly into rhythm playing. For electric guitarists, studying this section offers deep insight into expressive phrasing, subtle string bending, and the art of making a guitar sing within a chord-melody framework.

  • Hendrix famously used a Fender Stratocaster on this track, making it an essential study for Strat players exploring clean tones.
  • The verse section blends rhythm and lead playing simultaneously, a technique often called 'chord-melody' style unique to Hendrix.
  • Learning this section helps guitarists develop independent finger control, as melody notes are held while inner voices and bass move freely.
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
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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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