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.
01:00So, let's go.
01:27Melanie 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.
02:02And then this F sharp 7 plus 4, and that just moves up, so F sharp, and then this is like
02:14a G minor 7, but you could also think of it as like an E 9 chord, A major 7, sus 2 with
02:26the open beat, and Hendricks does voicings like this, and One Rainy Wish, and May This
02:34Be Love, a variety of songs, Angel.
02:39So after that beginning, and then it's this nice switch to A minor 9, and she loves these
02:51fast, live pull-ups, and then I just play this ascending lick to get back to A major, and
03:03then I'm going to kick off this little wing sort of emulation, and then.
03:16So that's the other thing she likes, is these fast hammer pulls.
03:26And then this is a really nice A flat diminished into A minor 7, sus 2, or sus 4, sorry, A minor
03:417, sus 4.
03:43And then this is very interesting.
03:49Sort of this E flat, and then here E flat, minus 7 flat 5, and another one of those fast
04:02slide pull-offs.
04:04So you've got, and then, and this is another thing, she likes these quick hammers.
04:15Using those open strings again.
04:18And then this voicing is a little tough, because you have to get your fingers in there, and
04:30then it just moves down.
04:35So this is a minor 9, sus 2, B goes down to B flat, A, and then kind of your typical Jimmy.
04:48So the, so, so Jimmy does stuff like that, or, another one of those, and then, so more open
05:16G stays in there for the D.
05:25Typical Jimmy.
05:26But then this, this is a diminished lick.
05:33And you could think of that as over the 5 chord, like this brief reference to, uh, 5, 7 raised, 5, so B7 raised 5.
05:48And then, sharp 5, I was going to say, so, that's how it closes out.
06:00Next up is one of the best blues guitar players on the scene today, Chris Stone Kingfish Ingram.
06:05He likes to play Jimi Hendrix's Hey Joe in his sets.
06:10And like Melanie, he has very unique things that he adds to the tune.
06:14Really cool, distinct twists.
06:15We're going to get into that right now.
06:17Here we go.
06:33Not unlike Melanie Faye, he likes to change the chord voicings a little bit, make them
06:57a little more interesting.
06:58So instead of a straight C chord, he plays, it's like a C6sus2, or add9, C6add9.
07:14And then the same thing, like a G6-9, so you're going to have that there.
07:22And then Dsus resolves to D. And then Asus resolves to A. And then E minor, unlike E major, which
07:40is what Jimmy plays.
07:41One more time.
07:52Bye.
07:54Bye.
07:56Bye.
08:00Bye.
08:06Bye.
08:45All right, for this guitar solo, I got a wah-wah pedal here.
08:56Start off like that.
09:06So it's very Jimi Hendrix-like, blues, typical blues rock style, and that's how Chris Stone
09:25likes to play, and then this, this sort of 16th notes, that kind of thing.
09:47So it's all firmly just right up here in E minor pentatonic, with the blues scale.
10:16And then those high bends.
10:23So the combination of Albert King, B.B. King, and Jimi Hendrix.
10:34Another great and very distinct player is Marcus Machado, who's more rooted in a classic
10:40R&B, contemporary R&B and soul style.
10:43But there's definitely a Hendrix vibe happening in his soloing, mixed with that Curtis Mayfield
10:50rhythm part.
10:51So let's take a look at that right now.
10:57Okay, so this Marcus Machado example is sort of rooted in very classic R&B soul.
11:04We're in the key of E, but we're starting on 3 minor, so G sharp minor.
11:11To G sharp minor.
11:12To G sharp minor.
11:13To G sharp minor.
11:14Seven.
11:15And then what would be the two chord.
11:18F sharp minor seven.
11:19Back to G sharp minor.
11:20To A major seven.
11:21And then what would be the two chord.
11:25F sharp minor seven.
11:26And then what would be the two chord.
11:28F sharp minor seven.
11:29Back to G sharp minor.
11:30To A major seven.
11:31And then A nine with a B bass.
11:32Or A nine with a B bass.
11:33And you can do your classic Jimi Hendrix.
11:34Curtis Mayfield's Curtis Mayfield.
11:35Little single string embellishments within the chords.
11:36And you can do your classic Jimi Hendrix Curtis Mayfield.
11:41Little single string embellishments within the chords.
11:49And you can do your classic Jimi Hendrix Curtis Mayfield.
11:56Little single string embellishments within the chords.
12:16So when you're holding the chord.
12:21You can play these.
12:25Hendrix do that all the time.
12:34So.
12:45And then for the solo over that.
12:46You really just play E major.
12:48Which I'll demonstrate now.
12:50Les F Nope.
12:55I play the chord in the chord.
13:00Soon when you're officially in the chord.
13:02Amen.
13:03I'm a À grands kiss.
13:05Our vanes are great.
13:07schmears have caught everything però.
13:09And I see.
13:10You see, I'm jars.
13:11Soon when you have taken it.
13:13I love you but I'm close.
13:14You're from my child.
13:15You're still mötime and you're registering me.
13:16I wait to see you.
13:17Although I love you.
13:18The 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, and then get to a C-sharp when the C-sharp
13:54minor 7 chord comes in. And then with my melody, I'm just going to follow that chord progression
14:05of F-sharp minor, G-sharp minor, A-major 7 by going, and just straight up, pretty much
14:24to E-major scale, to get to this bend, up to C-sharp, and then this fast ascending.
14:38Marcus likes playing things like that, and Hendrix does that on Here Am I Trying to Come,
14:43and on Made This Be Love, all kinds of songs you'll hear him do that. And then over, when
15:00we get back over C-sharp minor, I take advantage of C-sharp minor, pentatonic minor.
15:11And then another thing he likes is this octave thing. We know Jimmy loved using octaves
15:32for all kinds of solos. You hear it, of course, a third stone from the sun. That's sliding.
15:38And I kind of wrapped it up with E-major pentatonic. Which will work over all the chords.
16:07Another terrific young player is Ayla Tesler Mabe. She has such a cool style, very unique.
16:14Again, it's in this contemporary R&B style, her music. But the soloing has a heavy blues,
16:22a lot of feeling in it. So, I'll play some examples that are along the lines of her style right now.
16:52Alright, for this Ayla Tesler Mabe example, we're in C-sharp major 7 at the beginning here.
16:59And then it switches to what's really like C-sharp minor 9, even though there's no third in the chord, but it's implied.
17:11So, major 7, then 9, then F-sharp minor 7, or minor 9, and then to B-9, which is major.
17:27So, one more time, like...
17:34And then for soloing, most of the soloing is C-sharp major pentatonic and major scale.
17:54And there are definitely Hendrix-isms, and also just sort of blues, B.B. King, so I'll show you what I mean.
18:01.
18:08.
18:18.
18:23.
18:26.
18:30So, as I said, the sowing over this is mostly C major pentatonic.
18:49Very bluesy.
18:51So, then she does this cool thing over that F sharp minor 9, so that's right on F sharp
19:06minor 9, and you can see it as A major 7 too, and then I went more to like C sharp major
19:18scale, and that's where that sort of BB King thing comes in, so very bluesy, very melodic,
19:44a lot of feeling, and a heavy attack, and then this jazzy, and then into that BB King style
20:03stuff.
20:04One of the top blues guitar players on the scene today is Joanne Shaw Taylor.
20:08She recorded a video recently from Jimi Hendrix's flat, his apartment in London, and she did this
20:14blues thing, this shuffle, kind of with a canned heat, John Lee Hooker vibe, and this example,
20:21this next example is going to be in that style, and show, demonstrate some of the sowing things
20:27that she likes to do, and you can hear the connection to Jimi Hendrix.
20:34So this rhythm part is just this little vamp in A.
20:53It's a 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, can't he going up
21:13the country.
21:22And it kind of emulates an open tuning like John Lee Hooker would do because it's all
21:25A. So you're going between the A string and that A note, and you pull off, and then a...
21:43So those are the pieces.
21:56And then the solo over it that John Lee plays is just this very bluesy thing that shows the
22:03influence 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.
22:13So let's get started.
22:20As I said for the solo, it's really this sort of straight blues thing.
22:48You get over this.
22:54And Joanne likes to start with this Chuck Berry T-Bone Marker, where you bar and band two
23:07strings at a time.
23:18So it's a very Billy Gibbons, you know.
23:24And then, if I take this shape and move it up, and then that quick, and she likes doing
23:43that quick slide down, Hendrix did that, Stevie Ray Vaughan loved to do that.
23:51And then back to the, that rhythm part.
24:14Last up is a great guitar player named Aaron Jones.
24:17This is a very Hendrix-y groove on a song called Emily.
24:21This is along the lines of that song and what he plays.
24:24Let's get into that right now.
24:38guitar solo
25:08This is a very Hendrix-y rhythm part off E. It's almost kind of Buddha Child-y, but the groove, one, two, three, and one, two. It's not like Buddha Child, but, you know, a heavy riff off the open low E, that's something Hendrix did all the time.
25:28So that's what I'm playing. It's along the lines of Aaron Jones' lick.
25:40And then when he's singing on the verse,
25:59So playing these little two-note chords
26:06On the A and the D string with the open G in there
26:10Something Hendrix did all the time
26:14You know, he did it in Hey Joe and Hear My Turner Comin' and Buddha Child, all kinds of songs. It's something that Hendrix did often.
26:25So it's pretty simple. You just have that
26:28Into the other part
26:37And then back to the first lick.
26:52So here is some soloing in Aaron Jones' style
26:56And that is also very Hendrix-y in terms of sort of heavy blues, moving around
27:01You know, that Jimmy ramped up blues rock style
27:08And then over there.
27:09And then back to the first lick,
27:10And then you can move on his way
27:12To flow.
27:14And then it's not as fast
27:17You can move forward
27:20And thatimbark.
27:20So dem bear
27:22And then you can move on
27:25And then
27:27you can move on
27:29Let's go
27:31And the side
27:31Let's go over this solo, you have the lick, and Aaron likes these oblique bends, very
27:59Hendrix do this, so that very dramatic slide down and back up the one-string thing, something
28:15Hendrix did on Buddha Child, here my trainer come, and, so, so, so, so, so, so, so, so, so,
28:29so, so, so slides and pull-offs moving quickly, and then back to the chest, so that type of
28:50soloing, a quick hammer pull, and then straight to this blues, that type of thing, so, but,
29:13if I try to do it slow, sometimes it's hard to do it slowly.
29:17guitar solo
29:19guitar solo
29:49guitar solo
Comments