How To Play Rhythm Guitar Jimi Hendrix Style • Little Wing Variations • Part One
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Learning Blues Guitar
I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was established. Over the years, I have taught countless students (beginners to advanced) how to play or improve their chops. Past students include four members of PROTEST THE HERO.
With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.
The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.
There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.
The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.
The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.
It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.
Good luck and have fun. Music is a celebration. Enjoy!
Lorne K. Hemmerling
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People, Hell & Angels is a new album of twelve never before released Jimi Hendrix studio recordings. This special album showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Jimi Hendrix grew restless, eager to develop new material with old friends and new ensembles. Outside the view of a massive audience that had established the Experience as rock’s largest grossing concert act and simultaneously placed two of his albums together in the US Top 10 sales chart, Jimi was busy working behind the scenes to craft his next musical statement.
Little Wing • Progression
Based in the key of G Major-Em, this song has been covered many times. Blues players such as Eric Clapton and Stevie Ray Vaughn, even shredders Skid Row and , have had a go at it. Steve Vai
Example of a strumming pattern
Little Wing Chord Progression
Little Wing • Chord Progression
The Genius Of Jimi Hendrix
The Best Of Jimi Hendrix captures 20 of Hendrix's best including ageless classics like 'Purple Haze', 'Little Wing' and Hendrix's live adaptation of 'Star Spangled Banner' from the original 1969 Woodstock Music & Art Fair.
Deluxe digitally remastered CD/DVD edition of this classic 1967 album from the Rock guitar legend. This edition is housed in a lavish six-panel digipak with 36 page booklet including detailed session info, liner notes, photos and memorabilia. The DVDs contain an exclusive "making of" mini documentary.
Little Wing With Fills • Part One
I composed this version from the basic progression using ideas and techniques from the hub Rock Guitar • Jimi Hendrix Chord Fills
Em in measure one is based around the open Em chord. The last eighth note is an F sharp passing tone moving into the G Major barre shape at the third fret. The last two beats of measure two are single note fills from the G Major-Em Pentatonic Scale Box Pattern #3.
Measure three moves into an Am barre shape at the fifth position. The fills are taken from C Major-Am Pentatonic Box Pattern #1 (the second note of beat four is a B, taking the sound back into G Major-Em Pentatonic).
Measure four is a repeat of measure one without the F sharp passing tone.
Measure five moves into Bm9 at the seventh position. The minor 9th chord is a beautiful sounding chord, and the embellishment really adds to the overall sound. The last chord of measure five (A sharp minor seventh) acts as a chromatic passing chord into Am7. Once again, the fill is in C Major-Am Pentatonic Box Pattern #1, with the B and A of beat four moving into the G in measure seven. The fill on the G chord comes from G Major-Em Pentatonic Box Pattern #2.
The F Major in measure seven, has been re-harmonized to form F suspended 2. This is the chord that Jimi played in the intro. It is a true suspended chord, because the third (A) has been replaced by G. The fill is from F Major-Dm Pentatonic Box Pattern #2.
Measure eight is the C Major open shape with the fill coming from C Major-Am Pentatonic Box Pattern #1.
Finally, measure nine is a chord fragment from the D Major barre shape at the fifth position. The fills are played around D Major-Bm Pentatonic Box Pattern #1, with the last note (C sharp), leading into the single note D in measure ten. The trick with this style of playing is to make it sound like it is being improvised on the spot. Take these ideas and try creating your own. A slight change in the phrasing or note choice will make a huge difference.
Major Pentatonic Scale
Relative Minor Pentatonic Scale
F sharp minor
C sharp minor
G sharp minor
B flat Major
E flat Major
A flat Major
D flat Major
B flat minor