00:00Hey, I'm Andy Alladort and in this video lesson we're going to take a look at six young guitar players who show a distinct influence from the great Jimi Hendrix that carry on the tradition of Jimi Hendrix's guitar playing through their own very distinct style.
00:30We're going to start off with a phenomenal woman guitar player named Melanie Fay who's so unique and we're going to take a look at her twists, the things she likes to do when she plays Jimi Hendrix's Little Wing.
01:00You're going to start off.
01:12guitar solo
01:42Melanie Faye uses a lot of interesting chord voicings and open strings.
01:50In this example, I begin with this E add 9, really nice voicing, and do a reverse rake.
02:01And then this F sharp 7 sus 4, and that just moves up.
02:12So F sharp, and then this is like G minor 7, but you could also think of it as like an
02:19E 9 chord.
02:22A major 7, sus 2 with the open beat.
02:28And Hendrix does voicings like this in One Rainy Wish, and May This Be Love, a variety of
02:36songs, Angel.
02:39So after that beginning, and then it's this nice switch to A minor 9, and she loves these
02:51fast slide pull-ups.
02:54And then I just play this ascending lick to get back to A major, and then I'm going to
03:03kick off this little wing sort of emulation.
03:10And then, so that's the other thing she likes, is these fast hammer pulls.
03:21And then this is a really nice A flat diminished into A minor 7, sus 2, or sus 4s, or A minor 7,
03:40sus 4.
03:41And then this is very interesting, sort of this E flat, and then here E flat, minus 7 flat
03:585, and another one of those fast slide pull-offs.
04:03So you've got, and then, and this is another thing, she likes these quick hammers, using
04:15those open strings again.
04:19And this voicing, is a little tough, because you have to get your fingers in there, and then
04:30it just moves down, so this is a minor 9, sus 2, B, goes down to B flat, A, and then kind
04:43of your typical Jimmy, so the, so, so Jimmy does stuff like that.
05:00Or, or, another one of those, and then, so more open strings, that open G stays in there
05:18for the D.
05:24Typical Jimmy, but then this.
05:30This is a diminished lick.
05:33And you could think of that as over the 5 chord, like this brief reference to, uh, 5, 7,
05:44raised, 5, so B7, raised 5, sharp 5, I was going to say.
05:51So, that's how it closes out.
05:59Next up is one of the best blues guitar players on the scene today, Christone Kingfish Ingram.
06:06He likes to play Jimi Hendrix's Hey Joe in his sets, and like Melanie, he has very unique
06:11things that he adds to the tune, really cool distinct twists, we're going to get into that
06:16right now.
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06:53Not unlike Melanie Faye, he likes to change the chord voicings a little bit, make them
06:56a little more interesting.
06:57Interesting, so instead of a straight C chord,
06:59he plays...
07:02It's like a C6sus2,
07:07or add nine, C6s6add9.
07:14And then the same thing, like a G6s9.
07:17So you're gonna have that there.
07:22And then Dsus.
07:27Resolves to D.
07:31And then A-sus resolves to A.
07:35And then E-minor.
07:39Unlike E-major, which is what Jimmy plays.
07:41One more time.
07:57And then E-minor.
07:58All time.
08:18Here he comes.
08:49All right, for this guitar solo, I've got a wah-wah pedal here, start off like that, so it's very Jimi Hendrix-like, blues, typical,
09:19uh, blues rock style, and that's how, uh, uh, Chris Stone likes to play, and then this,
09:27it's sort of 16th notes, that kind of thing, that kind of thing, that kind of thing,
09:48so it's all firmly just right up here in E minor pentatonic, with the blues scale,
10:17and then those high bends,
10:22so the combination of Albert King, B.B. King, and Jimi Hendrix.
10:33Another great and very distinct player is Marcus Machado, who's more rooted in a, uh, classic R&B, uh, contemporary R&B and soul style,
10:44but there's definitely a Hendrix vibe happening in his soloing, uh, mix with that Curtis Mayfield rhythm part,
10:51so let's take a look at that right now.
10:53Okay, so this Marcus Machado example is sort of rooted,
11:09it's very classic R&B soul, uh, we're in the key of E, but we're starting on, on 3 minor, so G sharp minor,
11:16to C sharp minor, C sharp minor, to C sharp minor, 7, and then what would be the 2 chord, F sharp minor 7,
11:30on 3 minor, so G sharp minor, to C sharp minor, 7, and then what would be the 2 chord, F sharp
11:42minor 7, back to G sharp minor, to A major 7, and then A9 with a B bass, or A9 with a
11:52B bass. And you can do your classic Jimi Hendrix, Curtis Mayville, little single string embellishments
12:02within the chords. So when you're holding the chord, you can play
12:21these. Hendrix did it all the time.
12:33So, and then for the solo over that, you really just play E major, which I'll demonstrate now.
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13:37The solo begins over G sharp minor, and as I said, most of the licks are based on the
13:42E major scale. So I start right on that G sharp note . . .
13:49. . .
13:50and then get to a C sharp, when the C sharp minor 7 chord comes in. And then . . .
14:02And then with my melody, I'm just going to follow that chord progression of F sharp minor, G sharp
14:06minor, A major 7 chord minor, A major 7, by going . . .
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14:19And just straight up . . .
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15:32And we had no Jimmy loved using octaves for all kinds of solos, you hear it of course . . .
15:34course, a third stone from the sun. That's sliding. And I kind of wrapped it up with E major pentatonic.
16:04Which will work over all the chords. Another terrific young player is Ayla Tesler-Mabe.
16:13She has such a cool style, very unique. Again, it's in this contemporary R&B style, her music,
16:19but the soloing has a heavy blues, a lot of feeling in it. So I'll play some examples
16:27that are along the lines of her style right now.
16:54All right, for this Ayla Tesler-Mabe example, we're in C-sharp major 7 at the beginning here.
17:04And then it switches to what's really like C-sharp minor 9, even though there's no third
17:10in the chord, but it's implied. So major 7, then 9, then F-sharp minor 7, or minor 9.
17:23And then to B-9, which is major. So one more time, like...
17:30And then for soloing, most of the soloing is C-sharp major pentatonic and major scale. And there are
17:42definitely Hendrix-isms and also just sort of blues, BB King, so I'll show you what I mean.
17:49And then for soloing, most of the soloing is C-sharp major pentatonic and major scale. And there
17:56are definitely Hendrix-isms and also just sort of blues, BB King, so I'll show you what I mean.
18:01all right.
18:11All right.
18:16So, as I said, the sowing over this is mostly C major pentatonic.
18:46Very bluesy, but then she does the school thing over that F-sharp minor 9, so that's right
19:05on F-sharp minor 9, and you can see it as A major 7 too.
19:15And then I went more to like C-sharp major scale.
19:20And that's where that sort of BB King thing comes in.
19:27So, very bluesy, very melodic, a lot of feeling, and a heavy attack.
19:46And then this jazzy.
19:51And then into that BB King style stuff.
20:03One of the top blues guitar players on the scene today is Joanne Shaw Taylor.
20:07She recorded a video recently from Jimi Hendrix's flat, his apartment in London.
20:12And she did this blues thing, this shuffle, kind of with a canned heat, John Lee Hooker vibe.
20:18And this example, this next example, is going to be in that style and show, demonstrate
20:25some of the sowing things that she likes to do.
20:28And you can hear the connection to Jimi Hendrix.
20:49So, this rhythm part is just this little vamp in A.
21:03The shuffle one and two and three and four and one.
21:08It's kind of a very much John Lee Hooker, boogie kind of a thing.
21:12Can't heat going up the country.
21:21And it kind of emulates an open tuning like John Lee Hooker would do because it's all A.
21:32So, you're going between the A string and that A note.
21:37And you pull off.
21:39And then a.
21:42So, those are the pieces.
21:45And then the solo over it that John Lee plays is just this very bluesy thing that shows
22:02the influence of T-Bone Walker and Chuck Berry and the things that influence Jimi Hendrix.
22:06So, it's Hendrix-y in a way and it has the same influences but you'll see what I mean.
22:11Now, we're just going to walk up.
22:12So, here we go.
22:14Let's go.
22:15Let's go to the Pitch First tab.
22:16We'll see you.
22:17Now, let's go.
22:18Let's go.
22:19We'll see you next time.
22:20Bye.
22:22Bye.
22:23Bye.
22:24Bye.
22:26Bye.
22:27Bye.
22:28Bye.
22:29Bye.
22:30Bye.
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22:40Bye.
22:41As I said for the solo, it's really this sort of straight blues thing, you get over this.
22:54And Joanne likes to start with this, this Chuck Berry T-Bone walker, you bar and band
23:07two strings at a time, so it's a very Billy Gibbons, you know, and then, if I take this
23:30shape, then, move it up, and then that quick, and she likes doing that quick slide down,
23:45Hendrix did that, Stevie Ray Vaughan loved to do that, and then back to the, that rhythm
23:56last up is a great guitar player named Aaron Jones, this is a very Hendrix-y groove on
24:20a song called Emily, this is along the lines of that song and what he plays, let's get into
24:25that right now.
24:55This is a very Hendrix-y rhythm part off E. It's almost kind of Buddha-child-y, but the
25:02groove, one, two, three, and one, two. It's not like Buddha-child. But, you know, it's a
25:22heavy riff off the open low E, that's something Hendrix did all the time.
25:29So that's what I'm playing, it's along the lines of Aaron Jones' lick.
25:37And then, when you sing on the verse. So playing these little two note chords.
25:44And then when you sing on the verse. So playing these little two note chords.
25:52On the A and the D string with the open G in there. Something Hendrix did all the time.
25:59You know, he did it in Hey Joe, and in Hear My Turner Comin', and Buddha-child, all kinds
26:06of songs. It's just something Hendrix did often. So it's pretty simple. You just have that.
26:12into the other part.
26:19into the other part.
26:24into the other part.
26:29into the other part.
26:50and then back to the first lick. So here is
26:53He does some soloing in Aaron Jones' style. And that is also very Hendrix-y in terms of
26:58sort of heavy blues, moving around.
27:02You know, that Jimmy ramped up blues rock style.
27:08into the other part.
27:23Now let's go over this solo.
27:48You have the lick.
27:53And Aaron likes these oblique bends, very Hendrix-y.
28:10So that very dramatic slide down and then back up the one string thing, something Hendrix
28:15did on Voodoo Child.
28:17You know my train of coming.
28:24So it slides and pull-offs moving quickly.
28:36And then back to the chest.
28:49So that type of soloing, a quick hammer pull, and then straight to this blues.
29:11That type of thing, so, but if I try to do it slow, sometimes it's hard to do it slowly.
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