
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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Silvertone Guitars introduces the new Silvertone Lipstick pickup and 1373 Baritone guitar.
Silvertone Guitars is thrilled to announce a groundbreaking collaboration with Rio Grande Pickups to introduce a new Silvertone Lipstick pickup. This partnership combines Silvertone’s iconic legacy with Rio Grande’s expert craftsmanship to create a pickup that delivers a bold, traditional single-coil tone while retaining the classic Lipstick look.
The original Lipstick pickup, invented by Nathan Daniels, is celebrated for its distinctive sound with a bright, trebly top end and scooped midrange, offering a unique sonic character that stands out both in recordings and live performances. While the classic Silvertone Lipstick pickups are known for capturing this vintage tone, the new Silvertone/Rio Grande Lipstick pickups provide an exciting twist for players seeking a higher-output, traditional single-coil sound.
Designed and handmade in Houston, Texas, the new Silvertone Lipstick pickup features an Alnico 5bar magnet, plain enamel 44AWG pure copper wire, and a shielded 2-wire connection for versatile wiring options. This pickup strikes a perfect balance between a '60s Strat®-style sound and the powerful punch of a P90, offering a beefy midrange and enhanced output for dynamic lead playing and driving effects pedals.
“We’re thrilled to be working with Rio Grande Pickups on this new Lipstick design,” says Rick Taylor, Guitar Product Manager at Silvertone Guitars. “This collaboration has allowed us to expand the tonal palette of our Lipstick pickups while preserving the visual appeal that players love. The new pickups deliver rich, powerful sound that will inspire musicians to explore new creative possibilities.”
These new pickups are the perfect way to supercharge your guitar, combining the distinctive look of the Lipstick design with the versatile, high-output tone that modern players demand.
Pricing is $279 for the calibrated set, and $159 for the neck or bridge alone.
Silvertone Guitars proudly introduces the 1373 Baritone, a contemporary reimagining of the iconic 1958 6-string bass.
In 1958, Silvertone made waves with the revolutionary 1373 model, a 6-string bass tuned low E to E, paving the way for the distinctive tic-tac technique in Nashville. This technique involved doubling acoustic bass lines with the six-string bass played with a pick. This unique tuning was also famously featured in Glen Campbell's iconic six-string bass solo on the hit single "Wichita Lineman."
With the 1373 Baritone, Silvertone pays homage to this rich history by transforming the instrument into a baritone tuning marvel. The 28” scale neck is meticulously designed for B to B tuning, echoing the popular baritone tuning that left an indelible mark on 1960s surf rock and spaghetti western soundtracks.
Crafted with a solid mahogany body, the 1373 Baritone delivers unparalleled punch and sustain. The string-through body bridge enhances resonance, and the 28” scale strikes the perfect balance, allowing the lower strings to resonate authentically without sacrificing the comfort of standard tuning guitars.
Equipped with the new Alnico 5 Silvertone Lipstick pickups, the 1373 Baritone retains the clean tones and bell-like top end of the original pickups, with a bit more output. This additional output provides the flexibility to comfortably drive pedals, tube amps, or digital modelers, making the 1373 Baritone a versatile instrument across various musical genres.
The 1373 Baritone carries a $449 street price and is available in three striking colors: Black SilverFlake, Pelham Blue, and Silver Metal Flake.
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The Los Angeles League of Musicians—LA LOM for short—brought the vintage vibe with them on the road last year.
It wasn’t long ago that LA LOM—guitarist Zac Sokolow, bassist Jake Faulkner, and percussionist Nicholas Baker—were cutting their teeth together as the house band at the Roosevelt Hotel in Hollywood, playing poolside for guests. Now, with eight EPs and a full-length record (2024’s The Los Angeles League of Musicians) since 2021, they’re a full-blown sensation, celebrating and interpreting instrumental tropical guitar traditions.
The trio played Nashville’s The Basement back in December, where PG’s John Bohlinger caught up with Sokolow and Faulkner to see what road rigs they use to bring their psychedelic cumbia and Peruvian chicha dreams to life.
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This vintage National Val-Pro, circa 1960 to 1962, belongs to Faulkner, who received it as his very first electric. When he switched to bass, the Val-Pro took a backseat, so Sokolow had been more than happy to borrow it long-term. All the controls are disconnected except for the volume knob. Sokolow strings it with a .012–.052 gauge set of roundwounds, and he’s partial to D’Andrea Pro Plec 1.5 mm picks.
Leader of the Pack
Sokolow’s other sidekick is this Kay Style Leader from 1960. Each of the three pickups has a volume and tone control. The body’s been mostly routed out, so it lends the resonance and darkness of a semi-hollowbody.
Live and Loud
While he’ll often play through Fender Deluxe Reverbs at home, Sokolow trusts the Twin Reverb to get the job done in performance settings. The stage volume is loud enough that he and his bandmates often don’t need monitors: They can just listen to each other’s instruments onstage.
Zac Sokolow's Pedalboard
From his guitar, Sokolow’s signal runs through a spicy-red Voltage Cable Co. coil cable into his board. A TC Electronic Polytune 2 starts things off, followed by a Fulltone Full-Drive 3 for just a hint of dirt, then a Boss DM-3 delay, followed by a Catalinbread Topanga spring reverb. A TC Helicon VoiceTone handles some more echo work along with the DM-3.
Flight-Friendly Upright
Jake Faulkner’s traveling upright is thisJohnson bass, which has been modded by Tom at Fantastic Musical Instruments in Pasadena, California. Tom gave the upright a bolt-on neck that comes off easily, making it a perfect travel mate. For amplification, Faulkner uses pickups from Underwood, based in Palm Springs. On a tip from Tom, he glued a small piece of wood to the side of the pickups to reduce noise issues, and two sound posts have been installed inside the body to reduce feedback concerns.
Thumbin' Through
For electric needs, Faulkner uses this Fender Vintera II ’60s Precision Bass; he’ll switch between the two basses depending on what he feels best suits the song. He uses a thumb pick from time to time to accentuate certain rhythms.
Lightweight Low End
Faulkner’s been converted to this Ampeg Venture V12, a compact bass head weighing less than nine pounds—a godsend for sore-backed bassists. It’s set for a pretty neutral, SVT-style sound and runs into a Fender Bassman 410 Neo cabinet, which has four neodymium-loaded speakers.
Jake Faulkner's Pedalboard
Rather than at the start of his chain, his Korg Pitchblack Advance tuner goes at the end, with everything running out of it to the Venture V12. An Origin Effects Bassrig Super Vintage lends color and tone to the V12, then the Fire-Eye Development Red-Eye Twin acts as an A/B switch to maintain output and gain between the Johnson and the P-bass. An MXR Ten Band EQ helps balance out the upright’s tone.
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