PART 1 HENDRIX TECHNIQUE

1e) DOUBLE-STOPS AND EMBELLISHED CHORDS Hendrix was a master at dressing up the basic Major and Minor sounds by adding select suspensions to these tonalities such as the 2nd, 4th and 6th intervals. These create a sense of motion and colour but without changing the essentially pure beauty of these simple sounds, or extending the harmony in such a way that might not sound stylistically appropriate. Jimi was influenced greatly by country and folk styles and 12 these ideas 12 often sounded 12 rather similar to 12 the type (17 of ) moves 15 you’d typically ( 17 find ) in country piano themes. 15 12 This 12 example 12 in G Major, outlines (17 )

( 16 ) an essentially simple diatonic progression but adds colour and interest by including choice Pentatonic decoration and suspensions throughout.

1f) RHYTHMICALLY DISPLACED FIGURES Whie there is nothing challenging here from a note selection perspective, with everything coming

Bb- straight from G Minor Pentatonic (G- C-D-F), the trick with this example is to keep the rhythms stable and defined. We’re essentially playing rhythmic phrases that move across the ‘imaginary beat lines’, so initially we see a phrase consisting of three notes juxtaposed with a rhythmic rate of four-notesper-beat 12 15 (16th-notes, 12 0 or semiquavers). 15 12 0 This concept of phrase 12 versus rate continues, where the 15 next 12 idea 0 features a 15 five-note 12 0 repeating phrase against

(17 ) four, while we conclude with a similar idea but this time configuring six notes (phrase) against four (rate).