
Understanding Hendrix’s rhythm guitar style will help you create new, exciting guitar parts that add momentum to the song.
Intermediate
Intermediate
● Unlock secret Hendrix chord shapes.
● Discover essential tools Hendrix used to create inventive guitar parts.
● Never get bored playing simple chord progressions by blurring the boundaries of lead and rhythm guitar.
Jimi Hendrix is often remembered as a wild, bluesy, lead guitarist who left audiences awestruck with his mind-blowing solos and use of feedback. Still, he had another overshadowed ability that was just as integral to his sound: rhythm guitar playing. When it comes to playing rhythm and blues, soul, and elements of funk, the influence of Hendrix's rhythm style can be heard in clubs, arenas, and recording studios every day.
This rhythm style was really the backbone of his playing, and it was honed through years of working as a professional guitarist backing up Little Richard, the Isley Brothers, and King Curtis. While in these bands, Hendrix developed an ability to create inventive guitar parts that would not only meld into the rhythm section with a deep groove but also push along the energy of the song.
Hendrix had to play behind singers in these settings, and this is where he really developed his unique rhythm approach of ornamenting chord progressions in between the vocals. While Hendrix didn't create this style, he adapted and evolved it out of the popular contemporary soul music of the day. Hendrix was influenced by players like Cornell Dupree, Curtis Mayfield, and Steve Cropper, to name a few. He borrowed ideas from the way Mayfield would play lyrical melodies off the chord shapes. Hendrix adapted the Mayfield approach but made it more about the inventiveness of the rhythm rather than subtle embellishments to the chords. Along the way, Hendrix took it to a whole other level.
Throughout Hendrix's rhythm you can also hear borrowed ideas from Cropper, specifically his use of double-stops, bass lines, and sliding sixths within a rhythm part. Cropper, of course, demonstrated this type of rhythm style all over the classic Stax band recordings out of Memphis. Check out Otis Redding, Sam & Dave, and Eddie Floyd and you'll hear this.
Convert to Thumb
To get started playing in this style, the first thing you have to do is free up fretting-hand fingers within your chord shapes if you want to play the embellishments and ornament the chords the way Hendrix did. Unfortunately, this is where traditional electric guitar barre-chord shapes fall short. So, you'll want to start by converting these major and minor bar chord shapes to thumb chords.
Hendrix would wrap his fretting-hand thumb around the top of the guitar neck and, at times, play the 6thand even 5th string with his thumb. This may seem tough at first, but your hands will adapt over time to these chord formations. You never want to force a chord shape. Lightly go for the shape and then relax your hand. I would recommend starting with a smaller-necked guitar. Hendrix was known for his use of the Fender Stratocaster. These guitars typically have pretty slim necks, which definitely helps make these thumb chord shapes easier to reach.
Ex. 1 starts with a typical "E" shape barre chord that has a root on the 6th string. The first chord shape is the traditional fingering, while the second is Hendrix-style with the thumb on the root note.
With the Hendrix thumb-chord shape you have your 4th finger free on your fretting-hand. Now, you are ready to try some embellishments off of the chord shape like Ex. 2. This example uses a classic Hendrix-style hammer-on/pull-off combination with a bass-note pattern that plays independently of the upper melody. This was a key feature in Hendrix's style that, at times, made him sound almost like a piano player. As you play it, try to keep as many notes sustaining and ringing out over each other as possible.
Ex. 2
Now, let's see how this can apply to a minor barre chord with a root on the 6th string. We'll start with a minor "E" shape at the 5th fret before converting to a Hendrix style in Ex. 3.
Ex. 4 shows the same concept as Ex. 2 but uses the notes Hendrix would typically gravitate toward over a minor chord shape.
Ex. 4
With Ex. 2 and Ex. 4 you have a small melody using hammer-on and pull-off combinations. However, using your own personal taste, you may decide to use just one or two of these string embellishments at a time within a musical phrase. The point here is give you as many options as possible that are easily accessible off the chord shape. Hendrix would often reach up from any note in the chord and use the next scale degree for ornamenting. Sometimes the scales he would derive the melody notes from were typical major and minor scales, but he would often rely heavily on the use of pentatonic scales and, of course, the blues scale.
Chords with Roots On The 5th String
Now that we have major and minor Hendrix-style moveable chord shapes with roots on the 6th string, let's take a look at a few other must-know Hendrix chord shapes with roots on the 5thstring.
Ex. 5 shows a standard C major barre chord shape with a root on the 5th string. Hendrix used this shape frequently. Often, in context, he would quickly invert the chord up the neck placing the 3 in the bass.
The 3 in the bass creates an optimal fingering for playing double-stop licks off the shape. Ex. 6 demonstrates this idea.
Ex. 6
Slides, Hammer-ons, and Pull-offs
Ex. 7 shows how Hendrix might embellish a standard minor 7 barre chord shape with a root on the 5th string. Notice the same concept of reaching up from a note within the chord shape and using the next scale degree for ornamenting. In this example, the scale of choice is E minor pentatonic (E–G–A–B–D).
Again, based on your taste, you may choose to use just one of these hammer-on/pull-off combinations within your own musical phrase. However, you'll find there are quite a few creative possibilities, especially as you start experimenting with re-ordering them or changing the rhythm.
Ex. 7
Now, let's mix a number of these concepts and chord shapes together with Ex. 8 as we play over a simple three chord progression. Notice also one new chord shape, the Bb(add9) that comes in halfway through the first measure.
Ex. 8
Now that you have unlocked a few of Hendrix's go-to thumb chord shapes, and have played some examples using his typical embellishments, find songs in your repertoire where you can start using these concepts to play more inventive rhythm guitar. Have fun!
This article was updated on August 30, 2021.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!