Practice Studio

Jimi Hendrix - Purple Haze Pt.3 - Outro Solo - Guitar Lesson

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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.3 - Outro Solo


The outro solo of "Purple Haze" is where Jimi Hendrix lets loose most freely, and for a guitarist learning it, that freedom is actually the challenge. The solo sits in E minor and demands a combination of aggressive string bending, vibrato control, and whammy bar flourishes that are deeply physical to execute convincingly. Getting the bends in tune while keeping that raw, vocal quality takes real muscle memory, so use the Practice Toolbar to loop short phrases slowed down until each bend lands exactly where it needs to. The picking attack matters too: Hendrix plays behind the beat with a loose, almost lazy feel that tightens everything up rhythmically. Mimicking that feel means resisting the urge to rush. Pay close attention to how the phrases breathe, because the spaces between notes carry as much weight as the notes themselves.

  • The solo is built in E minor, making heavy use of the minor pentatonic scale with expressive string bends that require consistent finger strength and accurate pitch.
  • Hendrix's whammy bar technique is central to the outro's character, so a guitar with a functioning tremolo bridge will get you much closer to the original tone.
  • Focus your practice on matching the vibrato width and speed on sustained notes, as that vocal wobble is what separates a convincing take from a flat one.

How to Play Purple Haze Pt.3 - Outro 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)