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Jimi Hendrix - The Wind Cries Mary Pt.2 - Solo & Outro - Guitar Lesson

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Jimi Hendrix - The Wind Cries Mary Pt.2 - Solo & Outro - Guitar Lesson

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Jimi Hendrix - The Wind Cries Mary Pt.2 - Solo & Outro guitar lesson video
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The Wind Cries Mary Pt.2 - Solo & Outro

"The Wind Cries Mary Pt.2 - Solo & Outro" focuses on one of Jimi Hendrix's most expressive guitar moments, isolating the solo and outro section of the classic track. "The Wind Cries Mary" is a melodic, blues-inflected ballad that showcases Hendrix's lyrical phrasing and nuanced string bending. Learning this section is valuable for electric guitarists looking to develop expressive soloing techniques, dynamic control, and an understanding of how to close a song with emotional weight.

  • The outro of 'The Wind Cries Mary' demonstrates Hendrix's ability to blend bluesy bends with delicate, clean-toned melodic phrasing.
  • Hendrix reportedly wrote 'The Wind Cries Mary' in about fifteen minutes, yet the solo remains a study in restraint and feel.
  • Isolating the solo and outro makes this an ideal focused study piece for intermediate electric guitarists working on expressive lead playing.
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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