Practice Studio

Jimi Hendrix - Purple Haze Pt.2 - Guitar Solo - Guitar Lesson

Sections · Loop · Speed · Metronome

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100%

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BPM
Key E minor
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Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

Capo Advisor 0 E minor · Original key

About Purple Haze Pt.2 - Guitar Solo


Few solo sections in rock guitar ask as much of your hands as this one. Jimi Hendrix built his solos around a fluid mix of blues bends, hammer-ons, and pull-offs that flow together so naturally they can fool you into thinking they are simpler than they are. Working in E minor gives you the whole pentatonic box to draw from, but the real challenge is matching Hendrix's phrasing: the way he lets notes breathe, cuts them short, or pushes a bend just past the expected pitch. Getting that feel under your fingers takes focused repetition, so isolate the trickiest phrases with the Practice Toolbar, slow them down until every note speaks cleanly, then gradually bring the tempo back up. Pay close attention to how your fretting hand sits behind the neck, since his wide vibrato and full-step bends demand a relaxed thumb position and a firm grip that many players have to consciously build over time.

  • The solo sits in E minor, making the minor pentatonic scale your primary tool, but expressive bends and vibrato matter far more than scale knowledge alone.
  • Hendrix's signature thumb-over-the-neck grip allowed him to fret bass strings while bending treble strings, a technique worth learning slowly to avoid tension injuries.
  • Looping the solo slowed down in the Practice Toolbar reveals the exact pick-attack timing and bend targets that are easy to miss at full speed.

How to Play Purple Haze Pt.2 - Guitar Solo

Key: E 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)