Quote:
Originally Posted by blastingas10
I dont really understand Your little diagram. They look the same to me.
It's really pretty amazing how hendrix could do so much with a normal chord progression.
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Sorry dude, the formatting fell apart, oddly enough it looks fine if you try to quote it
Straight:
G...............C.................D............... Am
1-234-1-234|1-234-1-234|1-234-1-234|1-234-1-234
Alternate Ending:
G...............C.................D........Am....D .......Am
1-234-1-234|1-234-1-234|1-234-1-234|1-234-1-234
So on top you have 4 full passes of each chord, on the bottom you have 2 full passes then 4 half passes but it still equals out to the same amount of strums or beats.
And yeah Hendrix is an anomaly. The other major element with Hendrix's rhythm playing is his unorthodox and technically 'wrong' fretting technique. Wrapping your thumb around the neck is generally considered bad form (it WILL get you disciplined if you're learning classical guitar) it's also a concern for physical issues like carpal tunnel syndrome. The upside if you've got a hand large enough is that it allows you to play enough of a chord that it fools the average listener into thinking they've heard the whole thing while leaving your little finger free to add embellishments.
Here's a proper familiar bar chord and how Hendrix would generally fret it:
e-5-(5)-
B-5--5-
G-6--6-
D-7--7-
A-7--X-
E-5--5-
The main difference is the muted A string, which is a result of both the edge of the thumb muting the string and leaving the little finger out of the picture and moving your ring finger up to the D string. The other big thing with that form is you don't need to press your index finger across all 6 strings, the top 3 are usually all that's needed and again it opens up the possibility for funky little licks to be tossed in at 'random' within the rhythm.
A couple of relatively easy tunes that showcase that technique clearly are Hey Joe, The Wind Cries Mary, and Under the Bridge by the RHCP.