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Jimi Hendrix - The Wind Cries Mary - Solo & Outro - Guitar Lesson

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Jimi Hendrix - The Wind Cries Mary - Solo & Outro - Guitar Lesson

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Jimi Hendrix - The Wind Cries Mary - Solo & Outro guitar lesson video
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The Wind Cries Mary - Solo & Outro

"The Wind Cries Mary" is a blues-rock ballad by Jimi Hendrix, known for its lyrical guitar work and emotionally expressive phrasing. The solo and outro sections are particularly valuable for electric guitarists, showcasing Hendrix's signature use of string bends, vibrato, and pentatonic vocabulary in a slow, melodic context. These passages are considered essential study material for players looking to develop feel, phrasing, and tonal control rather than speed.

  • The solo relies heavily on the minor pentatonic scale, making it approachable yet deeply expressive for intermediate guitarists.
  • Hendrix's use of subtle vibrato and controlled bends throughout the outro demonstrates how tone and feel outweigh technical complexity.
  • The song is a strong example of Hendrix treating the guitar as a vocal instrument, with each note serving a melodic purpose.
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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