Jimi Hendrix had a very distinctive style when it came to rhythm guitar playing. One of things he did was play rhythmic figures based on triad shapes. He would finger the triads in the usual way and then hammer-on and pull-off other notes. If you learn the concepts and vocabulary he was working from, you can play in his style without learning his licks note-for-note. He never played anything the same way twice anyway.
I'm limiting this lesson to the specific triad shapes that Hendrix used the most. If you want a complete, methodical approach to triads, check out Unit 3: Triads.
So the first thing to do is learn the triad shapes from which he worked. Jimi mostly used major triads, so we'll start there.
On the first set of three strings (strings 1, 2 & 3), there are 3 shapes, or voicings. They are movable anywhere on the neck; it is very important that you know which note in the shape is the root:
On the second set of three strings (strings 2, 3 & 4):
Now group the shapes into pairs according to roots like so:
Notice that the pair on the right have a 3rd-string root; that's why they're a pair. they are a different voicing for the same triad.
The pair in the middle have a 2nd-string root, and the pair on the left have a 1st-string and 4th-string root respectively. The 1st and 4th-string roots are octaves, thus they have the same letter name.
It is essential that you know the name of the root, whatever it may be; you can bet Jimi knew!
So...do you have a way of naming the notes on strings 1 through 4? If you don't, let me suggest the 5-Lesson Foundational Series.
The 5-Lesson Foundational Series teaches the Circle of Keys as an organizational mechanism by which you ensure that whatever you learn is drilled in every key in all possible positions. It also gives you a method to find any note, anywhere, without memorizing note names on every string. That is a beautiful thing!
Almost every lesson I teach presupposes it.
You can download the 5-Lesson Foundational Series right here for free (a $39 value) with no further obligation or commitment.
If you know note names on the strings, or have a method to find them (i.e. the 5-Lesson Foundational Series), drill the above pairs in every key (the video below will demonstrate how). Then...
We need to put the above chords into what I call, "combined shapes" i.e. the first set and second set of strings played together:
Drill the combined shapes in every key per the video below. Concerning the above shape on the right with the root on the 3rd string; the following shape is the same root but on the third set of 3 strings (strings 3, 4 & 5). Hendrix used it often so we must include it.
So these are the triad shapes that make up Jimi's basic vocabulary when it comes to triads. Now we've got to explore what he did with them.
He usually played the combined shapes (excepting the 3rd-string root on the first set of 3 strings (strings 1, 2 & 3). He would then add notes to the triads, usually by hammering-on and pulling-off the added notes. I am tempted to define each note he added (9ths, 6ths and 4ths) but I think for the sake of simplicity I'll just note the additions by little black dots.
So let's take each shape and picture the possibilities. I've given the default fingerings but things get fingered all kinds of different ways depending on what you're doing. I talk about different fingerings in the video below.
The added notes are fingered with the pinky, unless the 4th string is omitted. In that case the added notes are usually fingered with the ring finger:
1st-string added notes are fingered with pinky & middle.
2nd-string note added with pinky.
3rd-string note added with ring finger.
4th-string notes added with pinky and barred index.
For the 3rd-string root we have to separate the string groups; for the 1st group:
1st-string added note added with pinky.
2nd-string added note with barred index.
For the 2nd group:
2nd-string note added with middle finger.
3rd and 4th-string notes added with ring.
Remember; Jimi used a 3rd-string-root triad on the 3rd set of 3 strings (strings 3, 4 & 5).
For the 3rd 3-string group:
3rd and 4th-string added notes with ring finger.
5th-string added notes with pinky and barred index.
I could give you a list of specific licks Jimi used but, again, for the sake of keeping this short, I'll simply say that the process whereby you come up with "Jimi-isms" from all this involves a lot of noodling. Just messing around with the sounds and trying to replicate what you hear Jimi doing with these devices. That's the way I figured it out. If you want specific licks by rote I'm sure you can google 'em.
When doing a Jimi-ism over a minor chord, the relative major triad "stuff" is used. For example, over an A minor chord, C major triad stuff is used. To get an idea of how a major tonality can also be a minor tonality, see, Theory Doesn't Matter? Don't Be An Idiot!
To demonstrate how Jimi used these devices, I'll demonstrate from 3 songs, Purple Haze, The Wind Cries Mary, and Little Wing:
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