Example 1

The Intro...

The tune kicks off in Bar 0 with a sustained note similar to the start of Jimi’s classic Foxy Lady. There are a few ways to achieve this: 1. Go the Hendrix way – play loud, find a sweet spot between yourself and the amp and let the feedback loop take care of the rest. 2. Use an Ebow, which is an effective, far quieter option. 3. Use a Digitech Freqout pedal (here you can fine-tune the result). 4. Use an Electro-Harmonix Freeze pedal. 5. Mute the strings each side of the played string by resting your fretting hand thumb and fingers on them. Pick the string then perform a wide, aggressive vibrato that will cause the note to ‘regenerate’ itself by rubbing on the fret wire. On the track I used a Digitech Freqout pedal in the ‘nat low’ setting, lots of gain and the onset set to just over the halfway point.

The intro proper begins in Bars 1-2 with a rhythmic approach similar to Crosstown Traffic, ie chords combing a fretted note (B) with the open B and E strings played in a constant repeating rhythm of 16th/8th notes. This creates a great syncopated feel that is resolved at the end of the second bar with the 8th note A sus2 – C#m7 move. Notice how the picking is in constant 16th notes with the pick only hitting the string at the desired points – the pick strokes that are shown in brackets are for timing only.

Verse And Bridge

This entire section (Bars 3-5 and 7-9) uses a series of question/ answer ideas mainly using notes drawn from the F#m Pentatonic scale (F#, A, B, C#, E, F#). This uses a lot of muted and ‘cut off’ notes that need to be played as accurately as possible for the part to sound convincing. In Bar 6 there is a one-bar fill – another device often used by Hendrix. You might find this a little awkward because you have to let the open strings ring for as long as you can. I use hybrid picking (pick plus middle finger) for this, but it can also be played pretty easily using just a pick – experiment with both methods and use whichever you prefer.

In Bar 10 there is a one-bar bassline that works as a means of connecting two sections. You can see how this is essentially an abridged version of the intro – ie it’s the same as the first three beats of Bar 1 and the last beat of Bar 2.

Chorus

Bars 11-18 contain what I have loosely named the chorus. It is actually just another variation section. In this the rhythms are a lot straighter than those seen so far and have a kind of Purple Haze/ Foxy Lady vibe about them. This section was designed to offer a workout in changing from normal 8th notes to dotted 8th/16th notes, with some additional chordal fills and a bassline added in, too. Mixtures of ideas like this are typically Hendrix and can be tricky to navigate. Watching the video closely might help in averting any rhythmic confusion. I used a Dunlop Rotovibe during this section to add the right sonic flavour.

Break, Repeat And Ending

An aspect I have always admired in Hendrix’s music is his sheer unpredictability. The two-bar break section in Bars 19-20 is a little unexpected. After the break we return again to the main verse section, which serves as the solo backing. After the solo all that remains is the ending tag. Once again, this uses the now familiar rhythms borrowed from the intro, only this time they are played in a staccato manner notated differently (using rests). I recommend you use muting with both hands to keep this line tight and clean.